Recording Djembe?

[saustindavis]

Hey everyone, I don't post very often but am planning on making a demo and need some advice on recording djembe. I have a pretty good idea of how to record everything else, but I'm a little perplexed. I have a 14" Toca djembe and my mic locker includes an Audio-Technica AT2020 and 2021, an Audix i5, and an Electro-Voice Cobalt Co9. My first instinct is to put the two condensors on it in order to get the highs and lows, but I'm wondering if it would be worth just throwing the i5 on it for the sake of simplicity. The music ranges from driving to mellow acoustic stuff. I don't have the funds to but anything else, so any suggestions for using what I have? Thanks!

 

[Richard Monroe]

Don't make the mistake of treating a Djembe like a conga. It produces very different frequency bands from the head and the throat (bottom). I use 2 mics, a condenser on the head,at a 45 degree angle, like a snare (I use AKG C2000B or a C414), and a dedicated low frequency mic on the bottom (I use AKG D112). Remember to reverse the phase on one of them, because they are basically pointed at each other. Then mix to taste.

 

[saustindavis]

So maybe the SDC on the top and one of the dynamics on the bottom? Or would you do the LDC on top? I've seen some articles on doing a dynamic up close, like 6-8" away from the head, and an LDC 6' back to capture the room. I guess a lot of experimentation is in order, I just want to have a basis for what I try rather than just placing them randomly in hopes of finding something that sounds good.

 

[Steenamaroo]

Don't make the mistake of treating a Djembe like a conga. It produces very different frequency bands from the head and the throat (bottom).

This is my experience too.
Decide what you want between that booming bass and the slap of the skin.
Depending what you want, position the mics accordingly.

In a dense mix you might want to close mic and have good control between the two.
It an open mix you might want to room mic.

Either way the key is to record, listen back, move the mics, record, listen back, move the mics.........

 

[Richard Monroe]

So maybe the SDC on the top and one of the dynamics on the bottom? Or would you do the LDC on top? I've seen some articles on doing a dynamic up close, like 6-8" away from the head, and an LDC 6' back to capture the room. I guess a lot of experimentation is in order, I just want to have a basis for what I try rather than just placing them randomly in hopes of finding something that sounds good.

If it's a*real* West African Djembe, I wouldn't even bother with room mic'ing, as the boom will overcome anything short of an anechoid chamber. You've heard of the "talking drums" that can be heard 12 miles away? That's the baby. I would close mic, but make sure whatever you use on the bottom can take major league SPL's, and pad if necessary. Don't put anything on the bottom that you wouldn't put on a Heavy metal kick drum. When my buddy Rimshot performs live with another drummer with a trap set, they mic the drum kit so they can hear it over the Djembe! If it's a modern, American made "Djembe", it's not as bad, but the real deal African version will blow your socks off. And- remember to turn the headphones *down*. You have been warned.

 

[saustindavis]

If it's a*real* West African Djembe, I wouldn't even bother with room mic'ing, as the boom will overcome anything short of an anechoid chamber. You've heard of the "talking drums" that can be heard 12 miles away? That's the baby. I would close mic, but make sure whatever you use on the bottom can take major league SPL's, and pad if necessary. Don't put anything on the bottom that you wouldn't put on a Heavy metal kick drum. When my buddy Rimshot performs live with another drummer with a trap set, they mic the drum kit so they can hear it over the Djembe! If it's a modern, American made "Djembe", it's not as bad, but the real deal African version will blow your socks off. And- remember to turn the headphones *down*. You have been warned.

It's not a 'real' African djembe, but it has a lot more meat on it's bones than that Remo junk that is so popular. It has quite a bit of body, and the slap is crisp and dry. I think it is a gem among modern djembes, and the price ($100 on sale!) makes it simply amazing. I see what you're saying about the room mic overwhelming it. It will be in a fairly open mix consisting of acoustic guitar, minimal electric guitar, bass, and of course the djembe. I want it to sound nice and tight without the bottom overwhelming the rest of the mix. I might just start by pointing my LDC and the i5 at the skin, maybe 8" away, and proceed from there.

BTW, here is a link to the djembe I have:

Toca Freestyle Cannon Djembe with Bag | Musician's Friend

 

[Richard Monroe]

Definitely mic the throat with a dynamic. A well played Djembe will literally sound like 2 different drums, especially if you pan the 2 mics a little. If you find you don't need one of the mics afterwards, just scratch that track. I'm betting you'll be happy you have both tracks. And- That African monster doesn't overwhelm the mic, it overwhelms *the room*! Enjoy. It's a unique instrument to track.

 

[saustindavis]

By throat do you mean the hole at the bottom, or the side of the body? If you mean inside the body how far inside would you suggest I place the mic as a starting point? Panning them is an interesting idea. Might try that and see where it leads.

 

[Richard Monroe]

By throat do you mean the hole at the bottom, or the side of the body? If you mean inside the body how far inside would you suggest I place the mic as a starting point? Panning them is an interesting idea. Might try that and see where it leads.

I mean the opening at the bottom, and I would put the bottom mic 4-6" outside, which is about as far as you can go if the drum is being supported by the drummer's legs, or by the floor. I wouldn't put the mic inside, anymore than you would put a vocalist's mic inside his mouth. Think of the throat of the drum kind of like the hole in the head of a kick drum. A lot of sound, and a lot of air, comes out of that mouth. If you only mic the top, you miss all of that moving air, and you lose what makes a Djembe unique. The Africans call it the throat, because it is the mouth of the "talking drum", and oddly enough, you mic it a lot like you mic a vocalist, at least if the vocalist was King Kong.

 

[Phrasemaker]

I recently recorded Djembe for a track, using two mics, I played the drum between my knees with one mic on the floor and another on a boom in proximity of the playing surface. This allowed a fair amount of flexibility when mixing the two tracks to get a sound which suited my purpose. It was an African drum, but to be fair I have a good composite one which is pretty damn loud too. I used large diaphragm condensers.

Tim

 

[habanero]

I have a 16in Remo djembe. I recorded mine with a Sennheiser e609 at the bottom, then a Shure SM57 about 12in above the head. The tone beats were solid. The slap beats were crisp and not too loud as it was with my large condenser. The bass beats were solid but not overpowering. I shared the recording with a buddy who is a drummer and he was really impressed with the sound.

 

[saustindavis]

I have a 16in Remo djembe. I recorded mine with a Sennheiser e609 at the bottom, then a Shure SM57 about 12in above the head. The tone beats were solid. The slap beats were crisp and not too loud as it was with my large condenser. The bass beats were solid but not overpowering. I shared the recording with a buddy who is a drummer and he was really impressed with the sound.

Hmmm... I might give it a try with my two dynamics like you mention. It's going to be in a fairly mellow mix consisting of mainly acoustic guitar and vocals, with minimal electric guitar and bass, so I need it to have a good driving presence without being overpowering. I want it to sound crisp without taking focus from the acoustic and vocals. I guess I'll give several mics and positions a try and figure out what sounds best. Lots of options!