Me too, except 3 58's on the toms and the OH's are Octava 012's.
How many drum mics do you record with
- Thread starter buryher17
- Start date
Me too, except 3 58's on the toms and the OH's are Octava 012's.
I cheat because I SUCK at recording drums.
So..... I use a Roland TD-6V to Midi into BFD and DFH.
Or I use Addictive Drums.
When I was micing..... I was using the limited resources I had.....
SM57 on bottom of snare
SM57 on Kick
Behringer B-1 Overhead
Sometimes I'd stick my radio shack omni-directional into the kick drum, because I seemed to get half decent results doing that.
(Remember - Limited resources)
So..... I use a Roland TD-6V to Midi into BFD and DFH.
Or I use Addictive Drums.
When I was micing..... I was using the limited resources I had.....
SM57 on bottom of snare
SM57 on Kick
Behringer B-1 Overhead
Sometimes I'd stick my radio shack omni-directional into the kick drum, because I seemed to get half decent results doing that.
(Remember - Limited resources)
thajeremy
registered abuser
I voted 7-9 because I guess that is the average...but it really depends on the number of toms in the kit im recording at the time...
here is what I use:
MK-012's overhead
Beta 52 on kick
e609 on snare
e604's on toms (I have 4-604's and 2-MD504's)
Blue Baby Bottle on the hats
here is what I use:
MK-012's overhead
Beta 52 on kick
e609 on snare
e604's on toms (I have 4-604's and 2-MD504's)
Blue Baby Bottle on the hats
aidan_m
Budding Rock Star!
What's the Glyn Johns method?? Is it like the recorderman method?
Polska_77
New member
mrT
New member
The only questions I have to ask is WTF is up with that site and why is there an article about recording drums on it?
Exactly. I use two mxls 906s for overheads, a vintage unidyne III shure 57 for snare and an akg112 for bass. The toms end up sounding fine as long as the acoustics are good.
timboZ
New member
I think they are are great for O/H. It is hard to get a harsh sound out of them. I also got a great deal on them. I think I got a matched set for less than $150 a few years back when they first came out.
lifes_a_fallacy
Person.
RODE nt 5's for overheads
Beta 52 for kick
SM57 for snare
SM57s for however many toms there are, then i send the toms to a mixer and just record a stereo L R of the toms along with everything else
also ... if i can convince the drummer its just a "fancy recording device" i stick a trigger on the kick and get a midi track so i can blend some kick sample in - because .. well..
so i guess, depending on the drummer, it becomes like ... 4 to 6 mics and 1 trigger
Beta 52 for kick
SM57 for snare
SM57s for however many toms there are, then i send the toms to a mixer and just record a stereo L R of the toms along with everything else
also ... if i can convince the drummer its just a "fancy recording device" i stick a trigger on the kick and get a midi track so i can blend some kick sample in - because .. well..
so i guess, depending on the drummer, it becomes like ... 4 to 6 mics and 1 trigger
emergencyexit
New member
usually 9 or 10.
2 Kel HM-1s overheads
2 mxl 603s room mics
1 audix i5 snare top
1 sennhieser e 609 snare bottom (sometimes 57)
1 Shure ksm 27 usually for floor tom
2 sm 57s for toms or more 603s
1 beta 52 for kick
2 Kel HM-1s overheads
2 mxl 603s room mics
1 audix i5 snare top
1 sennhieser e 609 snare bottom (sometimes 57)
1 Shure ksm 27 usually for floor tom
2 sm 57s for toms or more 603s
1 beta 52 for kick
Supercreep
Lizard People
Kick - D112 or RE-20
Snare - MD-421
OH - Josephson C42mp
Room - AT 4050
Sometimes the toms need a little boost and I'll reach for sm57s or SP B1s depending on the song.
Snare - MD-421
OH - Josephson C42mp
Room - AT 4050
Sometimes the toms need a little boost and I'll reach for sm57s or SP B1s depending on the song.
Rimshot
New member
What I've been using....
Overhead- A stereo coincidental pair of Oktava MK-012 with -10 db pads
Kick- ATM 25
Hats- Sennheisser E 835
Snare- Sennheisser E 604
on small toms - 2 Sennheisser E 604's
on floor toms - 2 ATM Pro 25's
Those two Oktavas work wonders on picking up all the subtle tones of the cymbals. I play mostly hard bop jazz, so I need a dedicated mic for my hats and I really like those little
E 604's for the snare and small toms because they respond very much like the SM 57 but are a bit clearer and they are small enough to stay out of the way. I use the clips to the rim. The Atm Pro 25's work a lot better on my 14" and 16" floor toms than they ever did on the kick drum. The ATM 25 is my favorite kick mic. I also own a D112 and a CAD kick mic, but those I use to mic a bass cab more than the kick drum because they seem to have a more muffled character. I think that choice of mics is a personal thing and varies from artist to artist depending on what kind of sound you are looking to get.
I have been more active in hand drumming for bellydance music the last few years
and for those spplications in the studio I find myself using the Oktava MK-012 a lot and on stage I use dynamics, either the E 604's or my old favorite, the AKG D 690.
Overhead- A stereo coincidental pair of Oktava MK-012 with -10 db pads
Kick- ATM 25
Hats- Sennheisser E 835
Snare- Sennheisser E 604
on small toms - 2 Sennheisser E 604's
on floor toms - 2 ATM Pro 25's
Those two Oktavas work wonders on picking up all the subtle tones of the cymbals. I play mostly hard bop jazz, so I need a dedicated mic for my hats and I really like those little
E 604's for the snare and small toms because they respond very much like the SM 57 but are a bit clearer and they are small enough to stay out of the way. I use the clips to the rim. The Atm Pro 25's work a lot better on my 14" and 16" floor toms than they ever did on the kick drum. The ATM 25 is my favorite kick mic. I also own a D112 and a CAD kick mic, but those I use to mic a bass cab more than the kick drum because they seem to have a more muffled character. I think that choice of mics is a personal thing and varies from artist to artist depending on what kind of sound you are looking to get.
I have been more active in hand drumming for bellydance music the last few years
and for those spplications in the studio I find myself using the Oktava MK-012 a lot and on stage I use dynamics, either the E 604's or my old favorite, the AKG D 690.
zbert
In the swamps of Jersey
Besides the mics the pres are important too. I'm just finishing up a CD of Xmas music. Mostly rock, some jazz. The set up I used was
Overheads AT4033 and 4040
Kick Audix D6
Snare Sennheiser 441
Toms Sernnheiser 421 and a Shure SM7
Floor Tom Sennheiser 602
Kick and snare went to a Toft ATC2, overheads went to a AMR/Peavey VMP2. Toms went direct to the pres in my Ghost board.
Overheads AT4033 and 4040
Kick Audix D6
Snare Sennheiser 441
Toms Sernnheiser 421 and a Shure SM7
Floor Tom Sennheiser 602
Kick and snare went to a Toft ATC2, overheads went to a AMR/Peavey VMP2. Toms went direct to the pres in my Ghost board.
TamaSabian
Peruvian skin beater
Following recordman method, even Glyn Johns. Four mics. Looking forward to mic toms and hi hat.
8ish
Here's my most recent setup.
Audix drum mic kit (D series, not F)
D1 on snare (positioned to catch top, bottom, and hihats)
D2 on toms 1 and 2
D4 on floor tom
Audix ADX50 as 'overheads', but I space them "binaurally"... basically try to position them as if they were the drummer's ears, so you record what the drummer hears.... of course you have to move them out of the way a little so the drummer can actually play..... very good stereo imaging, and a very effective approach i've been using (make it sound good to the drummer, and record what he hears)
AKG D110 on kick (almost as good as D112....needs some tweaking)
MXL 990.... I put this about 6 feet away from the kick beater, and cut all the EQ except 40-100 hz..... this picks up the thump that my AKG doesn't quite get from inside the kick drum.
Maybe everybody (like me) is voting 7-9, because the majority of people on this site are working with some variation of the 8 track recorder? Its a firepod for me, so I've only got 8 ins to work with..... if I had more channels I'd probably add a room mic and a Hihat mic, maybe another one on snare too......
Here's my most recent setup.
Audix drum mic kit (D series, not F)
D1 on snare (positioned to catch top, bottom, and hihats)
D2 on toms 1 and 2
D4 on floor tom
Audix ADX50 as 'overheads', but I space them "binaurally"... basically try to position them as if they were the drummer's ears, so you record what the drummer hears.... of course you have to move them out of the way a little so the drummer can actually play..... very good stereo imaging, and a very effective approach i've been using (make it sound good to the drummer, and record what he hears)
AKG D110 on kick (almost as good as D112....needs some tweaking)
MXL 990.... I put this about 6 feet away from the kick beater, and cut all the EQ except 40-100 hz..... this picks up the thump that my AKG doesn't quite get from inside the kick drum.
Maybe everybody (like me) is voting 7-9, because the majority of people on this site are working with some variation of the 8 track recorder? Its a firepod for me, so I've only got 8 ins to work with..... if I had more channels I'd probably add a room mic and a Hihat mic, maybe another one on snare too......
I guess the OP did ask which mikes we use on the drums, as well as how many.
I've typically used a pretty low track count for drums (like one or two tracks), since I've been using mainly a 1" 8 track up until a year ago.
For me, the number and position varies depending on the sound I'm after. I sometimes do mono, sometimes stereo. Sometimes I want a diffuse bass drum sound, sometimes I want it tight. I like to change the drum sounds a good bit from track to track so that things don't always sound the same.
That said, one thing I typically do on most drum tracks (and all other tracks for that matter) is to surround the mike (or the kit in the case of drums) with at least 8 Studio Traps. The variations in the acoustic subspace come from the spacing, positioning and whether the live or dead sides face in.
I've recorded many tracks with just one omni overhead... most commonly an RE-55 or more recently an SM-80. That seems to work well when I'm adding other percussion on separate tracks and the kit sound is simple and sparse.
Sometimes I just add a mike on the bass drum, and I typically use an RE-55 for that. If I have a mike in or in front of the bass, I may use the Josephson C42 overhead for a brighter sound than either of those flat omnis.
For a stereo sound, I like the Glyn Johns method with two overheads and have used both SM-80s and RE-55s overhead for that. That gives a nice stereo spread and a better representation of the floor tom than I usually seem to get with just one overhead. Sometimes just those two overheads is what I want. For a tighter bass sound I'll use a third mike in the bass.
Now that I track more into the DAW and track count is less of a bother, I typically add a mike on the side of or under the snare and that is usually another RE-55.
Cheers,
Otto