GREAT way to get fat drums, fast, with 3 mics...

I just tried this method out with my new mixer.

I am very impressed with my results. Originally my recordings using the same mic combination were quite lifeless but with this method it works well, especially the stereo imaging.

I used to 58s and one bargain basement dynamic.

I know 58s aren't to be used as overheads, more as a snare mic but it worked very very well.

The bass drum was a bit lifeless, but I attribute that to the crappy dynamic and muffling (I don't have a mini boom so I have to use pillows to position the kick mic, which touches the res head and kills it).

Thanks for posting, its really great. I can't wait to the end of the year so I can buy some condensor overheads and a D112 (hopefully)
 
awesome thread thanks for all the advice (can't wait to try this)- i've got a gt-44 (medium diaphragm condenser) and a sm57, so i'm thinking mono overhead, sm57 on snare and in terms of kick i'm not really sure?? any ideas?
 
Here is an even simpler set-up. Two SDC in an XY right over the snare, and a kick mic - I've gotten some pretty good results.
 

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NL5 said:
Here is an even simpler set-up. Two SDC in an XY right over the snare, and a kick mic - I've gotten some pretty good results.
Click to expand...

do you have any samples i can listen to??
me and the band really want to stop using fruity loops but we wont till we get great drums recorded hehehe. i have 2 mk012 one sm57 and one e835 (i know...i need a d112/beta52 or something for kickdrum)
 
MemoGtr said:
do you have any samples i can listen to??
me and the band really want to stop using fruity loops but we wont till we get great drums recorded hehehe. i have 2 mk012 one sm57 and one e835 (i know...i need a d112/beta52 or something for kickdrum)
Click to expand...

Here is one song - it is a live recording so the quality isn't that great. Fast forward thru the first couple minutes.



And here is a small clip -



It actually can sound WAY better, I just don't have anything else up from my drum set-up. I'll try and find a better clip and post it.
 
Hey Memo, here you have another sample, it´s a rough mix of song from my band. Hope you can listen and check for the drums quality that were recorded using the 4 mic technique, snare, kick and 2 overheads.


 
Yes. 57's. AND...PZM's.

I agree. Necessity has been the mother of a lot of good drum sounds for
me - using 57's as overheads in this way. Here's an added econo-trick. Take a floor monitor, bass/guitar cab, whatever, plug it in to a mic input, and stick it in front of your kick. You now have a cool BOOOOOOMIN' system kick MICROPHONE to mix in with your overhead tumble. Try it. I swear. I have made some hot drum mixes using a modified Radio Shack PZM, (1) 57 overhead (snare side pointing down), and this PA monitor-as-kick-mic approach.

Does anyone out there use PZM's? If so, try this mod:

There are tiny screws connecting the "nozzle" mic element to the metal conducting plate. Remove them and separate the two. If you will, suspend the plate by a string and strike it with something hard – RINNNNNNNNNNNNNNNNNNNNNNNNNNNNNNGGGGGGGGGG!!!!
Now...go to the hardware store and buy a small piece of plexiglass. Attach your mic element to the plexiglass in the same fashion it was previously attached to the metal plate. Home Depot or Lowes sells precut pieces in various dimensions - I believe the one I bought is approx. 8"X10", a considerably larger surface than the metal plate. What this plexi also does is resonate at a different frequency than the metal, SO...more bass, and less noise. ALSO...get a cheap mic stand clip - y'know...one part screws on to the top of the mic stand, forks, and is connected to the actual mic cradle by a large flattooth screw? Remove the screw, disconnect the two pieces and discard the top piece. Drill a hole in your plexi near the edge the same size as the hole in the forked half of the mic clip. Affix the plate to the mic clip with the large screw, and...VOILA! You now have a large, better sounding PZM that you can put ANYWHERE - on a straight stand, on a boom stand - wherever you want it.

Check out an example of this sound on a tune.

http://homepage.mac.com/mr.rising/FileSharing1.html
 
Last edited:
Great stuff here!!!

Does anyone know what the effects of a "Drum Cage" would play on the three mic set up?

We are using a plexiglass cage that completely encases the drum kit.........even over head. It's pretty tight quarters, but we do have acoustical foam on all of the walls.

It's not square shaped either, it's more octogonal if you will.

Thanks,
Rick
 
I mike them all and sometimes the foot side of the bass drum. Then when I mix I generally base it on snare, kick, and overheads. Sometimes I don't even use the close mikes other than the kick.
 
Thought I'd keep the never ending thread alive. I have tried this technique several different ways and I can't get the fat sound everyone is talking about...and I've been recording for several years.

My mics:

AKG D112 kick
SM57 snare
Matched pair MXL603's overheads
SM57's on toms (can't yet afford the E604's I want...)
Studio Projecsts B1 (not currently being used for my kit)

The ONLY reason I've got 57's on the toms is because I simply can't get the overheads to pick up the toms worth a crap. I've tried everything I can think of. I can get a nice cymbal/snare/kick sound obviously, but how in the hell are all of you getting good sounding toms (or tom sounds at all!?) without close micing them? Should I add my Studio Projects B1 as a room mic? I even tried compression on the overhead tracks to bring the level of the toms up, but that was unsuccessful as well. Any ideas?
 
Has anybody tried this setup with this variation: a couple feet in front of the bass drum, place another bass drum, with only one head that faces the kit. On the open side, place a mic pointing towards the kit (i.e. towards the head on the open-ended bass drum).

I did something like this last year and the kick really smoked. I haven't tried it in my home studio though, and hopefully I can do that soon. My board is busy saving a mix from last week. :)
 
mr. monkey said:
I agree. Necessity has been the mother of a lot of good drum sounds for
me - using 57's as overheads in this way. Here's an added econo-trick. Take a floor monitor, bass/guitar cab, whatever, plug it in to a mic input, and stick it in front of your kick. You now have a cool BOOOOOOMIN' system kick MICROPHONE to mix in with your overhead tumble. Try it. I swear. I have made some hot drum mixes using a modified Radio Shack PZM, (1) 57 overhead (snare side pointing down), and this PA monitor-as-kick-mic approach.

Does anyone out there use PZM's? If so, try this mod:

There are tiny screws connecting the "nozzle" mic element to the metal conducting plate. Remove them and separate the two. If you will, suspend the plate by a string and strike it with something hard – RINNNNNNNNNNNNNNNNNNNNNNNNNNNNNNGGGGGGGGGG!!!!
Now...go to the hardware store and buy a small piece of plexiglass. Attach your mic element to the plexiglass in the same fashion it was previously attached to the metal plate. Home Depot or Lowes sells precut pieces in various dimensions - I believe the one I bought is approx. 8"X10", a considerably larger surface than the metal plate. What this plexi also does is resonate at a different frequency than the metal, SO...more bass, and less noise. ALSO...get a cheap mic stand clip - y'know...one part screws on to the top of the mic stand, forks, and is connected to the actual mic cradle by a large flattooth screw? Remove the screw, disconnect the two pieces and discard the top piece. Drill a hole in your plexi near the edge the same size as the hole in the forked half of the mic clip. Affix the plate to the mic clip with the large screw, and...VOILA! You now have a large, better sounding PZM that you can put ANYWHERE - on a straight stand, on a boom stand - wherever you want it.

Check out an example of this sound on a tune.

http://homepage.mac.com/mr.rising/FileSharing1.html
Click to expand...
Thats cool.

I like that song. What are the specs on the kit used? It had a really cool sound. :) Is this using the PZM, 57, and PA speaker mic?
 
so to make sure I've got it right.
Mic A is placed above the center of the snare, at the distance equal to two drumsticks end to end.

Mic B is placed above the drummers right shoulder, at the distance equal to one drumstick

and both mics are pointed at the center of the snare, and Mic A is panned left and Mic B is panned right.

Is that right?
 
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