Recording Drums

  • Thread starter Thread starter Guitarer
  • Start date Start date
G

Guitarer

New member
Ok I typed this up once and then the forum said the server was busy so I'm gonna make this as short as possible.

I'm looking for the best option to record drums (needs to be budget friendly).

I considered putting every drum mic through a mixer and then stereo outs to an interface, but then I'd only have on drum track and that doesn't make the recording very versatile for anything...So I was curious how to go about simultaneous tracking.

If I got a mixer that can be plugged in via firewire would I be able to simultaneously track with it? (I know that depends on the program I use, but I know it supports it) How else could I go about this?

Next question: Do I want to have every mic running through a tube preamp...Or any seperate preamp at all for that matter? I know mixers usually have preamps built in.

Basically, what I'm asking, is from scratch, what should my lineup consist of (meaning parts, not particular brands/models...unless you want to suggest that too)? Price isn't really an object, but it needs to be realistic for a 16 year old with a near-minimum wage job.

Also, what parts would I have for recording drums that could double in my lineup for recording other instruments/vocals?

Thanks,
Holden
 
an sm57, a beta52 and a couple of overheads... The MXL 991 mics aren't bad at being OH's... You can do better, but for ~60 bucks a pop, you can't go wrong. You could also just use overheads and a room mic. It really depends on your room and your kit. Bad drums will sound bad no matter WHAT you do to record them...

**edit**

I re-read my post, and implied indirectly that ALL of the mics were ~60 bucks a pop. That, of course, is false. I meant the 991's are 60 a pop... The sm57 is about 100 bucks, and the beta52 is about 180. If you really want a diverse kick mic (that will take a lot more eq tweaking and is better for multi-genre projects) I'd suggest getting the AKG d112 for ~220 bucks.
 
I already own an SM57, and I'd prefer a D-6 as we're geared towards more of a metal sound. I wouldn't mind suggestions of some decently priced stick condensors for overheads, but my main question was the lineup for the recording itself, not the mics.

Appreciate the post though.

edit: Actually I did have a question about overheads...Do I want another mic on the hi-hat or would the overheads take care of that?

-Holden
 
I have a pair of OH's, 603's I belive, a 58 on snare, and en e609 on kick...through a Firepod. Works pretty well for me.
 
i'm currently in the process of switching over from your original scenario of running all mics through a mixer to 2 stereo channels because you're right: having 2 channels of fully mixed drums leaves no room for individual tweaks, which is undesirable.
i've now switched over to basically dogman's setup: a pair of 603s for OH, an sm57 on snare, and a d6 on kick. i find that the hi-hat mic, as well as the tom mics, is totally unneccessary (i'm using a variation on the recorderman technique for OHs). i've cut my 8-mic submix down to 4 mics that i can tweak individually. because of the phase issues of multiple mics, my kit sounds much bigger and fuller using half the mics.
i'd give you comparitive samples, but all my uploaded songs are with the old setup, nothing recorded with the new yet, sorry...
i'm using a 6-input standalone daw, but if you're using a computer all you need is a 4-channel interface. get more channels if you plan on expanding or would just like the possibility of doing so. firepod has 8, unbeatable price.
good luck!
 
I've considered the FirePod, so I take it it's good?

When that's hooked up to my computer, how should I go about simultaneously tracking? Is it just an option that I'd have to find in my program or what?

So, really, my lineup only needs to consist of mics > FirePod > Computer/Program? I don't need anything else like preamps or anything?

Thanks,
Holden
 
The firepod has pre's in it...
they seem fine to me. I don't have the best room...just a bedroom, but here is a pretty raw sample I did last week for a collab. No real processing here, as Cyrokk will put these together for a tune we are working on. There is some silence, as it goes to his riffs.
Drums

It has no sound for bout 20 seconds...
 
Wow, all things considered, that sounds great. With some proper reverb, room, and mixing to satisfaction it would be perfect.

603s seem to be hard to find (I didn't look that hard) but how would MXL 993s or 604s compare?
 
One more question: How would I go about hooking monitors to a FirePod? Is there a converter I can get to have 2 TRS cables in stereo from the one headphone jack? Or are there dedicated TRS jacks in the back?
 
Guitarer said:
603s seem to be hard to find (I didn't look that hard) but how would MXL 993s or 604s compare?
Click to expand...

you can get a matched stereo pair of mxl 603 mics (same as the 603s) from ebay for $109.95, new. the seller's name is ytsur, and he sells these things all day long. if he doesn't have any listed at the moment, keep checking--they pop up pretty frequently. if you don't have the patience, you can still get the pair new for under $200 from other ebayers.

i can't attest to the 993, but i believe the 604 is the same as the 603 except it features a -10 dB pad and high-pass filter. in fact, you can buy a pair of omni capsules that will fit either mic.

i will say this, though: harvey gerst thinks pretty highly of the 603 as a budget mic, and that, as they say, is 'nuff said.
 
also, you don't even need to buy software if you get the firepod (now called the FP10), because it comes with cubase LE.

as for monitoring, this came from www.presonus.com

"The FP10 also includes stereo headphone output on the front panel, as well as mix control to balance monitoring levels between mixed input and main output signals for zero-latency monitoring. Two channels of SPDIF input and output as well as MIDI input and output are also included."

cheers!
 
Just wondering what band you're in. I'm from Charlotte too :)
 
Thanks for your input Dross :)

I own Cubase LE and don't really like it too much...Maybe it'll mean more to me now that I'm more recording-software-savvy. I do need the newer copy, however, for the universal binary build.

Now I have to see if I can get a D6 and and a Firepod for less than retail :)
 
timthetortoise said:
Just wondering what band you're in. I'm from Charlotte too :)
Click to expand...

My current band is still in progress of becoming full (We need a bassist now :() We haven't played any gigs or anything so we wouldn't be known, but our name as of now is Severwing.

www.myspace.com/severwing

Right now we're making a transformation to Power Metal/Thrash

I use to do vocals for a band named Kryptic. I quit a couple months ago to persue a more guitar oriented position. (I'm on the right)

http://a205.ac-images.myspacecdn.com/images01/48/l_348cc903ebdc94290d8671bbd224a204.png
 
Last edited:
jrhager84 said:
If you really want a diverse kick mic (that will take a lot more eq tweaking and is better for multi-genre projects) I'd suggest getting the AKG d112{opposed to a beta 52a}...
Click to expand...

Hold on there man...more diverse than a beta 52a??? Sorry...don't know why you'd think that...unless you consider that 4K boost of the d112 advantageous. Some drummers want the metallic click from their beater...others do not. It's a lot easier to ADD the clickiness to the sound of a bass drum, than it is to REMOVE the click when the mic is designed to accentuate it. So, since both are well-made, and otherwise comparable, I'd have to say the Beta is more 'diverse' than the d112.
 
While we are on the subject of kick mics, i currently am trying to use the three mic method but am using a sm57 on my kick.. its inside the drum facing the beater. For some reason it picks up a good amount of the kick but it still picks up the snare big time! Is this the whole premise of what makes a kick mic a kick mic? Its ability to fine tuneits frequencies to grab the lower ones and thus make the bass drum more audible then the snare or toms? Basic question i know.. but i have never bothered thinking about it and listening back to my mix today, it seems that this is what happens with the sm57.
 
Ok I have 2 more questions (Yes, they'll never end. I'm one curious son of a bitch.)

Unserious question first: If the idea is to deaden sound in a room so it doesn't reflect, couldn't I get the same effect by recording out in an open field?

Serious question: If I were to build frames of rigid fiberglass, in what formation should I have them surrounding the drums?
 
Does anyone know if the MXL 603s sound good on acoustic guitar and/or micing amps?

I'm trying to get stuff that's dual purpose as to spend less.
 
They'll work for acoustic instruments. There are better choices for amps.
 
You must log in or register to reply here.
Back
Top