Recording - December 2014 - 47
That shouldn't be. A drumkit is a hellaciously complicated instrument, but it should
be possible to capture it without tears.
Readers with long memories may recall that
I wrote an article about the history of drum
kit recording for our January 2012 issue. As
my students will testify, I have an unnatural
liking for the sound of drum kits.
One way to multimike drums while
adhering to the 10 dB rule (see our last
installment) is to use the new generation of
clip-on mic kits specifically designed for
the purpose. Because each mic sits closer
to its instrument than the usual standmounted mic, this increases the level of
direct sound, leaving the leakage at a relatively lower level. Unfortunately, this
takes some of the potential magic away.
For me, the answer is simple: don't multimike! It's possible to get truly wonderful
drum sound using a single pair of good
mics as overheads, with maybe a mic
added on the kick drum. I don't space the
overheads a couple of feet apart, as is common; that leads to too many phase issues of
its own. Instead, I place the overheads in
ORTF formation (separated by 7", angled
outward at 110° to one another). And I use
mics with good off-axis response.
If this sounds a little too simple to be
true, let me do some testifying. The best
drum sound I've ever gotten happened
when I hung a pair of my trusty
Microtech Gefell M930s, in ORTF, over a
really good drum kit and amplified them
with LMNOPres-those preamps really
like drums. Just by themselves, the overheads sounded great; the kick and snare
came through so clearly that there was
no need to mike them individually.
Disbelieve me if you will, but a single
pair of overheads can do the job. Really.
And the room was good enough that the
sound bouncing around it added all the
magic sauce I needed, too.
Another tactic for getting good drum
sounds without exciting the Phase
Monster is to use the 4-microphone Glyn
Johns setup, which he made famous in
decades of fine recordings-close-miked
kick and snare plus distant mics at the
front and side of the kit. This is probably
worth a refresher article on its own!
Go thou and do likewise
We've seen how controlled leakage
can add magic to recordings, how it can
make the Phase Monster jump out and
bite you, and various strategies for getting
the benefits of the magic without the drawback of the Monster's mischief. If you use
these techniques, I think your recordings
can take a jump up in quality. Go do it-
and enjoy the space.
Paul J. Stamler (stamler@recording
mag.com) is a recording musician, engineer, educator, and collector of bizarre
vintage recordings, living in St. Louis.
RECORDING December 2014
47
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http://www.antelopeaudio.com
http://www.pearlmanmicrophones.com
Recording - December 2014
Table of Contents for the Digital Edition of Recording - December 2014
Contents
Recording - December 2014 - Cover1
Recording - December 2014 - Cover2
Recording - December 2014 - 1
Recording - December 2014 - 2
Recording - December 2014 - 3
Recording - December 2014 - 4
Recording - December 2014 - 5
Recording - December 2014 - Contents
Recording - December 2014 - 7
Recording - December 2014 - 8
Recording - December 2014 - 9
Recording - December 2014 - 10
Recording - December 2014 - 11
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Recording - December 2014 - Cover3
Recording - December 2014 - Cover4
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