Recording: A Wide Variety Of Microphone Techniques For Drums

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A Wide Variety Of Microphone Techniques For Drums

Insights on miking and recording drums, with a wide range of successful methods and options

Jun. 09, 2011, by Barry Rudolph

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Microphone World, Recording, Techniques, Barry Rudolph, Drum Miking

Tom-Toms
The floor and rack toms are miked from the top only.

I ‘ve miked the top and bottom of toms and I don’t think it is worth it except for some strange and very tonal sounds.

There is a point at which too many microphones around the kit will cause a loss rather than a gain. Further, I find myself obsessing on too many internal drum balances and not focusing on just making a good drum recording.

The principal question for tom mics is whether to use dynamics or condensers; both have advantages and disadvantages. Dynamics present a “dry” and immediately present sound. You’ll have better isolation from the rest of the kit making balancing easier. Dynamics are also better for loud drummers who hit hard.

Condensers offer a fuller sound and are able to capture more of a drummer’s subtleties. They are great for light to medium drum volumes.

Figure 7. Neumann U87 on a tom

Disadvantages include more leakage, more expense and the risk of damage from being hit. They’re also larger and prone to distort more at louder levels.

Figure 7 shows a U87 on a rack tom. Make sure to have the -10 dB capsule pad switched in.

I like this microphone especially for floor toms.

Figure 8 shows a pair of Audix ADX90s on the high rack toms; these are electret condensers that attach to the drum rims with built-in shock mounts.

Figure 8. Pair of Audix ADX90 on toms

Microphone Choices
Dynamics include Sennheiser MD-421U, Audio-Technica KP Series, Shure SM57, Beta52 and Beta57; condensers include Neumann U87, KM184 and KM185, AKG C 451, C 452 (w/pads and swivels) and C 414TL11, and Audix ADX90.

Hi-Hat
The all important hi-hat should be miked even though it usually cuts through all the other microphones. Use a condenser for this bright sound that can handle good, hot levels.

I try to get a mic close enough to be almost in the drummer’s way and aim it right where he is striking the cymbals. I record this mic on a separate track and sometimes roll out low frequencies so that the snare drum’s (right next door) low end is not exaggerated.

Microphone Choices
Use condensers exclusively! Some of my favorites are AKG C 451 or C 452 with -10 dB or -20 dB pads depending on mic pre, Neumann KM185 supercardioid or the original KM84, or Sony tie tack mic on the end of a stick.

Room Mics
Room mics can often save an otherwise miserable sounding drum kit and lackluster drummer!

The opportunity for sonic treatment of a room mic is almost endless and I always record it on a separate track for post-processing.

Heavy compression effects work best while the drummer is playing because the compressor is presented with the maximum dynamic range possible.

The old vintage tube compressors are popular for this, but I’ve had good luck with a Universal Audio 1176LN compressor/limiters, LA Audio Classic II Stereo compressor (these are both FET-based units) and Empirical Labs’ Distressors.

If you’re short of tracks, record this mic on one and monitor it in the middle of the drum mix. Adding a little of this mic gives the overall kit a definite room tone without washing out the stereo image.

Positioning the room mics is the most important decision: too close and it produces a “not-very-useful” tonality shift, and too far away causes a distant sound like added reverb.

In an unfamilar room, this process may be a bit tricky, so don’t hesitate to ask the advice of someone who should know where best to locate these mics.

Microphone Choices
Use any condenser that you would use for overheads or vocals. All of the aforementioned models will work fine, and there’s a lot of room for experimentation.