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DRUM MIKING TECHNIQUES PDF

So even if you can’t get inside the drum, there’s still a lot you can “I use a three- microphone technique on bass drum,”. Of all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are. First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms. A dynamic mic functions just like a.

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Because the microphones are relatively low, they will hear primarily the drums themselves. I read Mick Jones resented some of his guitar tracks being taken out by Mr. Johns frequently ran a snare mic as well. The biggest thing with that mic is to look across to the snare and hi hat. Glyn Johns Mic setup David Beauchamp – [ I use it in a semi-live-situation; recording my bands jams.

Minimal Miking Techniques – Modern Drummer Magazine

Will hopefully post some demos later Miming. What are the best vacuums on January 28, at 5: Pop recordings are mostly driven by an techniquues and attractive drum sound.

Pulling the drum mix back into a more realistic mix perspective reveals the true size of the drum recording as it blends with the rest of the instruments and vocals. ThatGuy on April 10, at 9: Switching from a directional cardioid to a degree omni pattern, for example, will obviously allow a lot more of the room—as well as other instruments, if applicable—to enter into the equation.

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Greg on January 10, at 1: With fechniques snare, place your mic a couple of inches above the rim angled across the snare. I have been doing our live mix with this group for about 3 years.

The better the room sounds though, the better your recordings will sound. Definitely trying this out on the next recording. Conversely, there are numerous ways to use an AB pair to capture a roomier, indirect sound: Any way I will be subscribing to your feeds techniqurs even I achievement you access consistently quickly.

I need to start recording my band include the drums. Extreme panning of Recorderman overhead tracks rdum leave a hole in the middle of the stereo field. The two capsules are typically pointed toward the left and right sides of the kit. Graham on January 11, at 3: If we have channels left, the next part of the kit we would mic would probably be the hi-hats. By Matt McGlynn A single pair of multipattern condenser microphones can provide at least five distinct overhead drum miking choices with surprisingly different sonic characteristics.

However, I much prefer the Glyn Jons technique. Jijja LasVegas on December 22, at I have book-marked it for later!

Any words of wisdom?

13 correct ways to mic up a drum kit | MusicRadar

Glyn Johns,… Studio Geekery: In the end, it was I who helped the artist decided which parts To use, where to double, where to dub ablibs, coached the vocal performance, ect. To minimize cymbal sound, try Recorderman.

You most certainly know how to keep a reader entertained. An extended version of this technique that I use often is to position the 2nd overhead equidistant to the snare AND kick.

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The mono OH up top should pick up the hi toms just fine. I find that recording drums has very much to do with your monitor mixing as well as the actual sound you are getting on both the techniquds drums and the total drum kit. What may you recommend in regards to your publish that you simply made some days ago? Nazim on August 23, at 6: This can work well when blended in with the top snare mic, as it helps to capture some of the sizzle and pop of the snare wires. Great explanation, especially of the reasoning behind using the Glyn Johns method!

This approach, like mid-side, is less likely to succeed in a small or untreated space, because the microphones will mostly hear reflected sounds. I have a Behringer B2 and was wondering if it made a difference if I used a figure 8 pattern.

The Wonderful World Of Microphone Techniques For Drums

This approach is more effective on smaller set-ups such as four- or five-piece kits which, with a mic. Graham on October 6, at Cymbals will be understated, as will the sound of the room. Grab your kick druk and place it close to the resonant head or inside the drum. Record a little bit and listen back to that one mic.