Miking drums, need help PLEASE

  • Thread starter Thread starter Gabriel Sousa
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Gabriel Sousa

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Hello, its my first time that i am miking a drum, my mics are:

1 sm58
2 sm57
4 Sennheiser E604

for the first time the tims, kick and snare as a great sound.

my problem is the hats, crash and ride.
i used the 57 and 58 for the Overheads, the problems is that that mics on overhead, capture more snare (clips) sound that the ride and crash.

what i have to do, to resolve the problem ?

thanks

my daw is:

PC - P4
AD/DA RME ADI-8 pro
RME Hammerfall DIGI9636
Terratec ews 24/96
Focusrite voicemaster pro
soundcraft spirit SX
BOSS SX-700
ROLAND DS-50
1 sm58
2 sm57
1 neumann tlm 103
4 Sennheiser E604
 
Dynamic mics on overheads is never such a great idea, as you've already noticed yourself. Get a cheap condenser, like the shure 16a and you'll be a lot further.
 
F_cksia said:
Dynamic mics on overheads is never such a great idea, as you've already noticed yourself. Get a cheap condenser, like the shure 16a and you'll be a lot further.
Click to expand...

2 Marshall 603s or Oktava 012s should get you started.
 
what about your tlm 103?


also you seem to be very focused on close micing. do you have something against say: the 57s or the e604s in xy about 6 feet in front of the kit at head height?

or the tlm 103 out in front through the voicemaster with a little bit of compression and a hair of eq...
 
I'd put the 103 as a mono overhead, two drum sticks length over the center of the snare.
 
Take a drum stick and hold one end of it to the center of the snare head pointing at the ceiling. Take a second stick and hold one end of it the the end of the first stick, essentially doubling its length. That's where I'd position the TLM-103 pointing down at the snare face. This along with a tight mic on the snare and one in the kick of course.
 
Try getting a pair of ECM 8000 from Behringer (about 80 euro) and setting them X/Y Config as overheads (set the capsules as close as you can without touching to make a wide V shape, maybe around 120 degrees and maybe a meter away from the drums, head high), then place the SM 57 on the snare, with the part that plugs into the cable facing the HiHat (to get the least amount of bleed from the hats) and try the SM 58 inside the Bass drum, pointing to where the batter hits the skin from an angle so that on a straight line you're also pointing it away from the snare to get the least amount of snare bleed) adjust levels to taste and give this a try. This setup does extremely cool results for me doing rock, funk stuff.

Carlos
 
I agree, Okatava MK012s are great and cheap, $99 bucks. 57s and 58s are horrible for overheads, unless you're going for something out of the norm.
 
first, screw of te cap of the sm 58...so it sorta looks like a 57...then take one of them and from the throne side...i gues behind, point the mic between the hi hat and crash about 12" about at a 45 degree angle...but do it so it pointing OUT towards the front of your kick si the snare is at the back of the mic...then do the smae thing with the ride...tell me how this works
 
carlosguardia said:
Try getting a pair of ECM 8000 from Behringer (about 80 euro) and setting them X/Y Config as overheads...
Carlos
Click to expand...

question. if you are using omnis is there any point in doing XY?

shouldnt distance from one diaphram to the next be the only important thing?

that is what i thought, but i am no expert.
 
I second the motion (or third???) for the octavas mc012's. You are right, having the two ECM 8000s in an XY will most likely not do much for you, as they are in Omni. They will be picking up practically the exact same signal! Either get a pair of ECM 8000s and space them following the 3-1 rule, or, better yet, get the octavas and try xy. Or just get a huge, tile and wood room, and put one ECM 8000 all the way at the other end and just bang the hell out of the drums. :D

later

chris
 
I have to agree with other and go get yourself some inexpensive Condenser Mic's, I use the MXL 603's very effectively for that purpose. Second you didn't mention where you are postioning the Overheads as they relate to where the ride and crash are. I have miced just directly overhead of the cymbals with the Mic's pointing directly at the Cymbals, and I have also Miced just below the Cymbals with the Mic pointing updward towards the cymbals.

You also didn't mention if you have the overheads going to a seperate tracks or tracks. I usually do this and can use various EQ and Dynamics to bring out the cymbals as well. On seperate tracks when the cymbals are played they are much louder then say the snare. I have more problems with the hi-hat because of its proximity to the snare. If the snare and Overheads are hitting the same tracks, I can se having problems where the snare may drown them out with no ability to rasie the fader on the cymbals alone if needed.
 
A couple of cheap Shanghai LDCs will help a lot.
I think Harvey Gerst has a model he likes that
is only about $70 each.

I assume you are close micing with your Sennheisers.
If you run out of mics, then pick up a couple more SM57s.
Everyone needs three or four on general principles.
Use them to close mic the snare, toms, and
the critical cymbals.

Use a couple of extra mics to mic the room
from as far away as you can put them,
preferably up near hard walls. SD condensors
are ideal, but SM57s work when that is
all you have.

Once you get it tracking right, you'll
probably not like the room acoustics, but
that starts the evil descent into "gear lust/ room
acoustics" madness.

And talk to the drummer, tell 'em to hit the snare
hard.
 
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