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Articles Tagged Drums

  • Wednesday, September 23, 2015
    Barry Rudolph 09/23/15 06:46 AM,
    Of all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are (mostly) driven by an unique and attractive drum sound. The definition of what makes a “good drum sound” has been greatly expanded since the advent of drum machines, samplers and the endless manipulations possible with Pro Tools. Record producers are looking for the drummer to drive the “feel” of the song and their drum sound to “fill” a certain… View this story
    Filed in: RecordingFeatureStudy HallDigital Audio WorkstationsEducationMicrophoneStudio

  • Wednesday, September 16, 2015
    Casey Campbell 09/16/15 11:02 AM,
      Kick drum and bass guitar are infamous for competing for the same audible space in a mix, yet it’s usually desireable for there to be separation between the two.  Here are several techniques to get you headed in the right direction. 1. Change the position of the microphone on the kick drum. Often the bass guitar is more boomy, so push the kick mic deeper into the drum, nearer to the beater head. This will give it more “click,”… View this story
    Filed in: Live SoundChurch SoundFeatureBlogStudy HallConsolesEngineerMixerProcessorSound Reinforcement

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    Mark Frink 09/16/15 06:31 AM,
    Years ago, drum sounds were created with a narrow, well-defined selection of standard microphones and console EQ, plus outboard gates, reverbs and a few compressors, and then spending an inordinate amount of time adjusting it all while each drum was hit repeatedly. In the recording studio, this can take weeks, but for live sound it’s compressed into a day at the tour’s beginning, and no more than an hour a day while on the road. Digital consoles have changed the… View this story
    Filed in: Live SoundFeatureBlogStudy HallEducationEngineerMicrophoneSignalSound ReinforcementStudioSystem

  • Wednesday, September 09, 2015
    PSW Staff 09/09/15 08:24 AM,
    Known for his tenor saxophone playing that follows in the traditions of John Coltrane, and Albert Ayler, jazz saxophonist, composer, and band leader Kamasi Washington recently released his debut album, titled The Epic — with 172 minutes of music. Mojave Audio microphones played a crucial role in the capture of the album’s various performances, and to ensure the most musically rich and detailed acquisitions possible. Producer, engineer, and drummer Tony Austin played a central role in the production of The… View this story
    Filed in: RecordingNewsEngineerMicrophoneStudio

  • Thursday, June 25, 2015
    Derek Sexsmith 06/25/15 11:25 AM,
    This article is provided by The snare drum and electric guitar are often the driving force of a song despite the kick and bass being considered the foundation of a mix. Turn down the snare drum and the congregation will feel reluctant to clap with the song.  Mic the top and bottom of the snare drum. The top mic will catch the stick hitting the drum and pick up much of the body of the snare. The bottom mic… View this story
    Filed in: Church SoundFeatureStudy HallEducationEngineerMixerProcessorSound ReinforcementStage

  • Thursday, April 30, 2015
    PSW Staff 04/30/15 11:12 AM,
    Auralex Acoustics is now shipping the HoverDeck V2, the latest upgraded iteration of its ISO Series Drum and Percussion Isolation platform.  The Auralex HoverDeck V2 is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit or percussion setup from the structure, resulting in a tighter, purer sound for both studio and front of house. Auralex’s ISO-Puck modular risers minimize structure-borne sound transmission and sympathetic vibrations between drums and hardware. The low-profile isolating boards assemble via hook… View this story
    Filed in: AVAVManufacturerSound ReinforcementStageStudio

  • Friday, April 17, 2015
    PSW Staff 04/17/15 07:37 AM,
    AKG by Harman announces the introduction of its D112 MKII kick drum microphone, successor to the company’s D112. The D112 MKII improves upon its predecessor with a new integrated flexible mount. “The D112 has earned a well-deserved reputation as one of the best kick drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction,” said Erich Gaertner, product line manager, AKG. “However, its rigid mount sometimes made it a little tricky to place in the optimum… View this story
    Filed in: AVLive SoundRecordingAVMicrophoneSound ReinforcementStageStudio

  • Monday, April 13, 2015
    PSW Staff 04/13/15 07:48 AM,
    Robert Venable is the owner of Off The Wall Studios and has worked on recordings by Megadeth, Scott Stapp, Disciple, INXS, Neal McCoy and dozens more. Venable has won a GMA Dove Award, has been nominated for a GRAMMY and is known for his ability to develop a personalized “sound” for each of his artists, most recently on Kelly Clarkson’s latest album Piece by Piece. One of Venable’s specialties is drum sounds – with the Harman dbx 160x Compressor/Limiter and… View this story
    Filed in: RecordingEngineerProcessorSignalStudio

  • Thursday, March 05, 2015
    Mark Frink 03/05/15 03:34 PM,
    The drum sound is the heart of any band mix: kick drum keeps the pulse going, while the snare drives the rhythm and the overall beat gives each song its groove. Dynamic microphones are used for close miking drums because they’re sturdy, handle high SPL, provide off-axis rejection and often have a presence boost around 4 kHz that emphasizes attack. At the same time, digital consoles have changed the live sound workflow. Their instant recall forces drum sound check to… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMicrophoneSound ReinforcementStageWireless

  • Monday, March 02, 2015
    recording drums
    Joe Gilder 03/02/15 05:56 PM,
    Article provided by Home Studio Corner.   Ever want to get “huge, cannon-sized” tom tracks? On this video, Joe Gilder demonstrates an approach he’s developed to do just that. He starts with an example of a song featuring big tom sound that really fits the vibe and mood of the song, and then he loops back to his method in attaining that specific sonic signature. It’s not just a matter of working with reverb and EQ, but rather a more… View this story
    Filed in: RecordingFeatureBlogVideoStudy HallDigitalDigital Audio WorkstationsMixerProcessorSoftwareStudio