Recording - August 2015 - 17

Making a plan before the session, based on your goals and
gear, can make the whole recording process run more smoothly.
To help keep everything straight, I like to create an input sheet. This
keeps a record of the entire signal flow, and is easily referenced
later. It can especially help when input 7 of your drum recording
suddenly isn't getting signal, and rather than trying to figure out in
your head which mic is supposed to be input 7, it is already laid
out for you. In addition to the basic information on the input list, I
also like to list if the channel needs phantom power, and if it is
being run to any outboard gear on the way into the DAW.
Once the gear is planned out, try to figure out what room would
be best to record in. The basement or garage would be solid
options, or you could even try the living room if space permits. If
you are attempting to record guitar at the same time, see if there is
easy access to any closets, bathrooms or side rooms that could act
as an isolation booth for a guitar amp. You can run the 1/4" cable
underneath the door so that the band can maintain line of sight. A
clear line of sight is vital for having the band record with each
other. Simple cues like a nod of the head to finish out a solo, or a
simple hand signal or facial expression to bring the dynamics
down, can really bring the recording to the next level.
Now that all of the planning is taken care of, let's talk about
(arguably) the most fun part of the process, recording drums.

process until all of the lugs are in tune and you have a desirable
snare tone. The process is similar for the toms and kick drum; just
make sure with the toms that the pitches work well with each other.
If the toms are out of tune, you might hear a beat frequency, or
other phase cancellations that can diminish the overall tonality.
Mics on drums: one or more
If you don't have an auxiliary mixer, and you need to record
drums and bass with only two inputs, the best way to capture
the drums is with a single microphone a couple feet in front of
the kit, pointed slightly down at the kick. The point is to capture
the kick and snare drum as accurately as possible. Then you can
use the other input for bass or rhythm guitar. This situation is not
ideal, but when all you have is one good mic, it can still capture
a realistic recording of the kit.
If your interface allows up to 4 or 8 inputs, this will create
some more options. Let's start with some overhead techniques
that will capture the whole kit. We'll supplement them with close
mics on kick and snare in a moment.
There is a wide range of microphones you can use for the overheads, and it will vary depending on what you have access to.
Typically a matched pair of condensers will be a solid option.
Vintage Neumann U87s are always a go-to, as well as most small-

1. Recorder Man overheads (optional kick and snare mics not shown)
Tune your kit!
Solid drum tone starts with great sounding drums, which in turn
starts with tuning. Tune the kit before the recording process begins,
as EQ in the mixing stage can only do so much. Even if you aren't
a drummer, tuning the kit is a straightforward process. The lugs on
the top and bottom heads can be tightened or loosened, which
changes the overall pitch, tone and timbre of the drum.
The process entails tapping the head near each rim lug. Using a
drum key, tighten to raise the pitch and loosen to lower the pitch
until all of the lugs ring at the same frequency. Tune the lugs opposite from each other - for example if you start with the lug at 6
o'clock, then move to its counterpart at 12 o'clock. Repeat the

diaphragm condensers such as the AKG Perception 420 or the
Shure SM81. Ribbon microphones offer a warmer character for
overheads, such as the Royer R-121 or R-122. In a pinch, I've
heard SM57s do the trick for drum overheads as well!
Recorder Man
I like to use an overhead technique called "Recorder Man". In
this setup, the two overhead mics will be carrying the majority
of the drum mix, so take some time and make sure you like what
you hear. The overall image of Recorder Man is tight and
focused, and it captures a very balanced blend of the entire kit.
This technique features one microphone over the right shoulder
of the drummer, and another one centered over the snare.
RECORDING August 2015

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