Need help micing drumset w/ two condensers...

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sk8man121

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Hello,

So I don't really know the first thing about micing drums, but here is my situation. I have at my disposal two audio technica mics: I have an AT2020, which is a side-address cardioid condenser, and an AT2021, which is a small-diaphragm condenser. The kit is set up in an octagonal "tower" section of my house with an opening where the stairs lead up. Works out much like a small practice room. I have a pre-amp if necessary also. How can I get the best sound out of my kit with these tools?
 
While I'm at it, I'll also be recording my acoustic guitar with this same equipment. If I could also get some tips on how to get the best sound with that, it would be greatly appreciated...

ps. I apologize for my lack of expertise in this area; I'm sure many of you are see these amateur questions and chuckle. The truth is I've been making low-fi recordings for years, but I'm just now starting to get interested in "properly" micing my acoustic instruments.
 
micing

for recording acoustic with those two mics i would have the ld condenser at the sound hole and the sd condenser pointing at the twelth fret, that always gives a nice sound.
for drums i dont really know maybe u could have the sd on the snare with the ld as a mono overhead
 
TRY and borrow a low-frequency response mic, then you can have mono OH and kick, which is absolutely fine for drums if you have a good drummer who hits the drums much harder than the cymbals.
 
If it was me, I'd probably have the 2020 infront of the kick drum back 2-3 feet and the 2021 as an overhead
 
Google Glyn Johns. Use that technique, minus the kick/front of the kit mic. You can eq in more lows if your room sounds good.
 
Although this isnt the best solution, it will yield a pretty good sound. Use the 2 mics for Room left and Room right, and send the mix through a multiband compressor to raise the low ends and and higher mids to get bor bass and snare. Its not the best way to mic drums, buyt when i mic drums i use WAY mor than 2 mics:p

1 or 2 for the kick, 1or 2 for the snare, 1 fgor hihats 1 for each tom 1 for OHL and OHR (over heads) and 2 room mics
 
Recorderman dude. Either that or just get the two mics equal distance from the snare over the hihat and the ride. Maybe do the same thing but put the LDC in front of the kit and the SDC over the kit. But equal distance from the snare always! Trust me.
 
I like recorderman and glynn johns, both seem to get me sort of similar results...

however, I always rely on being able to mix in some close mics, especially on the kik and to a lesser extent, the snare. I never get enough thump (at least not enough for my liking) from from the kik with only two overs. So considering that, if I could only use two condensers I would probably throw the SDC up as a mono overhead and the LDC in front near the floor to pick up some low end from the kik.

Its gonna be imperative to have good technique or a good performance with minimalist mic'ing like this.
 
I'm going to try out the recorderman technique. What eq and compression should i use?
 
mrhotapples said:
Recorderman dude. Either that or just get the two mics equal distance from the snare over the hihat and the ride. Maybe do the same thing but put the LDC in front of the kit and the SDC over the kit. But equal distance from the snare always! Trust me.
Click to expand...

I have to agree, equal distance from the snare is critical. I wish someone would have told me this years ago, it would have saved me a lot of frustration.
 
Unless you have more mics for the kick and snare I would just throw up room mics with a stereo technique. If the set is tuned pretty well and there isn't some weird material in your room, room mics would sound just fine.

Also I find that the best mic placements come from experimenting. It is one thing for HR users to tell you what they do and you to find out for yourself.:)

stereo_fig5.jpg


* Also I would have it about 2ft higher than wear the cymbals are and about 5-6ft back
 
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