Upgrading drum mic'ing setup questions

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Jgwman

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Hey, haven't posted on here in a while. I am thinking I may upgrade my recording gear soon, and I have some questions. First, I need some suggestions on overheads. I currently have a Shure SM57 and an Audix D6. I'm using the D6 for kick/bass drum obviously (and my bass amp), and currently the Shure is an overhead; however, I would like to buy a mic (maybe 2) more suited to overhead and use the SM57 for snare. If it matters, the overhead would need to catch toms and cymbals (INCLUDING hi hats), though I am more worried about cymbals than tom sound. I was considering the AKG1000(S), though it's been a while since I looked at it and I don't remember why I liked it:). This also brings up the problem of my interface - I am currently using a Line 6 UX2, which has two XLR inputs, and I need more (at least 4). I could use suggestions on interfaces as well, though I was considering between the Tascam US-1800 and the Behringer FCA1616. My preference is the Tascam for the price I can get it for; however, I have read both good and bad reviews. Suggestions or opinions on the stuff I'm considering would be great. My budget is not set in stone, particularly since I will likely buy used. However, I'm looking at no more than about $300 new on the interface and nothing too crazy on the mics, but any suggestions are welcome. Thanks.
 
I used a couple of inexpensive Samson CO2's for overhead mics for quite a while. 57's on snare and toms. D112 on kick. Check out tunes on my website for tracks done with them and Tascam US1800. Mind there is a degree of drum sample enhancement on the drums (Steven Slate Trigger).
 
Awesome! The stuff on your site sounds great, how much of an effect would you say the Trigger has on the sound?
 
Well, I sometimes use a sample of the actual drums I am recording. It really depends on the song and the kit used. Obviously the overhead mics pick up the natural sound of the drums, so you can't effectively replace the sounds with samples. More of enhancing a natural drum without the bleed from other mics. In other words, you can boost 5k on a tom sample, without getting the harsh sound of a cymbal from the live mic.
 
Like the previous person that commented, I've had a decent amount of success with Sampson CO2 overhead pair. Inexpensive, and captures the kit rather well. I did a lot of experimentation regarding mic placement with the pair, to find the sweet spot most suited to the drummer's style. Like you, I use a D6 on kick. I use an Audix i5 on snare, 57 on rack tom, and sennheiser 421 on floor tom.
Specifically, I first try to capture the full kit with the overheads, whereby the overheads could stand alone as the drum tracks. Then I fill in other drum tracks, to see where my natural sound/ no EQ is in relation to one another. Adjust mic placement accordingly to this natural sound, trying to get the most full dynamic sound possible.

That said, I was happy with the outcome most of the time with the Sampson pair, but had difficulties and troubles too. Especially with cymbal harshness when compressing the stereo drum buss or just the overhead pair by themselves. Sure that trigger system/ software might be a good solution to this dilemma. But, I instead purchased a Pair of old AT 3035's large diaphragm condensers to use as my overheads. I like my cymbal sounds better now, but the sampsons did have a unique quality over the whole kit. Recommend either as a nice budget overhead option. Have fun!
 
Dismal swami said:
Like the previous person that commented, I've had a decent amount of success with Sampson CO2 overhead pair. Inexpensive, and captures the kit rather well. I did a lot of experimentation regarding mic placement with the pair, to find the sweet spot most suited to the drummer's style. Like you, I use a D6 on kick. I use an Audix i5 on snare, 57 on rack tom, and sennheiser 421 on floor tom.
Specifically, I first try to capture the full kit with the overheads, whereby the overheads could stand alone as the drum tracks. Then I fill in other drum tracks, to see where my natural sound/ no EQ is in relation to one another. Adjust mic placement accordingly to this natural sound, trying to get the most full dynamic sound possible.

That said, I was happy with the outcome most of the time with the Sampson pair, but had difficulties and troubles too. Especially with cymbal harshness when compressing the stereo drum buss or just the overhead pair by themselves. Sure that trigger system/ software might be a good solution to this dilemma. But, I instead purchased a Pair of old AT 3035's large diaphragm condensers to use as my overheads. I like my cymbal sounds better now, but the sampsons did have a unique quality over the whole kit. Recommend either as a nice budget overhead option. Have fun!
Click to expand...

This is something that relates to something I just realized due to a friend here on the site shipping me some different options for overhead mics. There is a huge difference in how some mics capture a kit. The room and placement has much to do with how it works as well...

I will be recording tomorrow morning with Earthworks SRO omni's and Shure KSM141's (cardioid setting) in the same placement (well as close as possible) and post the two overhead tracks in the mix to compare.

Going to be KISS cover tunes.
 
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