4 mic tecnique

TamaSabian

TamaSabian

Peruvian skin beater
I record drums using Glyn Johns technique. I will be recording a band that likes audioslave kind of sound. Talking about drums I was wondering how to get that, I think compression should help, but my question is what a about a room mic???. I don´t have a lot of gear and money to spend so I have to work with what I got. I´m able to put a MXL990 as room mic. BTW I use PRO25, SM57 and a pair of MXL603 as OH. With the gear I got is almost impossible to get close to audioslave´s sound. The band wants a lot of punch.....
Any ideas, tips, suggestions???.

Thanks
TS
 
Try a dynamic as the room mic, like a 57. and step on it hard with a compressor.
 
Track Rat said:
Try a dynamic as the room mic, like a 57. and step on it hard with a compressor.
Click to expand...


Is there any particular reason why you suggested a dynamic mic and not a condenser? I've always read suggestions of condensers for room mics so I'm just wondering why you said dynamic.
I've never tried a dynamic, I'll have to do that.
 
eraos said:
Is there any particular reason why you suggested a dynamic mic and not a condenser? I've always read suggestions of condensers for room mics so I'm just wondering why you said dynamic.
I've never tried a dynamic, I'll have to do that.
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That´s exactly what I thought. I always read suggestions about using a condenser not dynamic.
Just to be clear. A room mic and a compressor will give me the punch I need???. An outboard comp is a must or I could deal with plugins???.

Thanks
TS
 
Perhaps the dynamic will give a dirtier sound, which coupled with some heavy compression can result in alot of punch? However, normally, I would say a condensor aswell. I don't know the drums on the audioslave album very well though.
 
The Room

I would recommend a large condenser or even a pair of small condenders for ambient (or room) miking. However, the better the room is treated for acoustics, the better the drums will sound.

Compression is an important tool for getting rock-thumping drums tracks but w/o properly treating the room you probably won't get the sound your looking for.

-Rez
 
i dig on the dynamic idea, just don't need the hi-end content associated with a condencer in that situation.
 
Don't dismiss the idea of a mono overhead either. I used a single Baby Bottle for OH and got damn fine results. Less chance of phase issues too.
 
There is a whole lot of very clean compression of the entire drumkit. I'm not 100% certain what the Glynn Johns technique is but I'd be keeping the 603's fairly close to the toms, then compress everything individually, and compress the whole drum stereo mix.

I know its always said, but the drummer and the drums have a lot to do with it. Despite the fact that Brad Wilke (i think thats his name) plays very basic/boring stuff most of the time he hits quite hard and has very good dynamic control between each stroke.

Getting a drum sound like Audioslave is a very hard task, I wouldn't beat yourself up if you can;t quite get it, just imagine the amount of cash these guys had to pull whatever sound they liked. I sincerly wish you good luck, and demand a full report on what you went with and a aclip to go with it.
 
HangDawg said:
Don't dismiss the idea of a mono overhead either. I used a single Baby Bottle for OH and got damn fine results. Less chance of phase issues too.
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So is that just three mics on the kit or do you mic the toms individually as well?

I use a mono overhead a lot, but only because the only decent channel strip I have is mono.
 
dr.colossus said:
So is that just three mics on the kit or do you mic the toms individually as well?

I use a mono overhead a lot, but only because the only decent channel strip I have is mono.
Click to expand...

I mentioned my setup earlier. I only use 4 mics and there´s a 990 left, a friend of mine will give me his 57. Both 603 I placed as OH, Glyn Johns 4 mic technique is superb. Check it out and try it.

http://www.danalexanderaudio.com/glynjohns.htm

I talked with the band today and they told me that my drum sound was ok. (they listen to some clips I posted). It wasn´t like audioslave of course but it was fine for them.

If you check the link and see the setup, where you think the extra mic could be placed??. In front of the kit??? or as third OH???.

Thanks
TS
 
dr.colossus said:
So is that just three mics on the kit or do you mic the toms individually as well?

I use a mono overhead a lot, but only because the only decent channel strip I have is mono.
Click to expand...



I've done it both ways. If I'm tracking a band live, I'll use just 3 sometimes. I've also done the mono OH and put md421s on the bottoms of the toms to catch the ring/decay.
 
Have you tried this

MXL603 32 inches above the center of the snare
MXL603 32 inches from the center of snare and over the right hand sholder of the drummer
(Keep the O/H's the same distance from the center of the snare)

PRO25 inside of kick drum
SM57 On the snare

When you mix pan the O/H as wide as you like the kit to sound.
Get most of your sound from the O/H's and just add kick and snare to bring them out a little more.
 
timboZ said:
Have you tried this

MXL603 32 inches above the center of the snare
MXL603 32 inches from the center of snare and over the right hand sholder of the drummer
(Keep the O/H's the same distance from the center of the snare)

PRO25 inside of kick drum
SM57 On the snare

When you mix pan the O/H as wide as you like the kit to sound.
Get most of your sound from the O/H's and just add kick and snare to bring them out a little more.
Click to expand...

Yep TimboZ, I´ve tried, I think I´ve got better results with Glyn Johns tecnique. I´m almost sure that drummer could make the difference between both, maybe I could try which one gives me the punch I need I´ll make the drummer play for a while record, then change micing then compare.

Thanks for your suggestion
TS
 
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