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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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In Reply to: RE: How about drumsets that are panned across the entire sound stage- posted by zako on August 23, 2015 at 12:45:24:
The most most normalish drum kit micing I see in a studio live room for rock bands is:
Snare top - Shure SM57
Snare bot - Senn 441
Hat - Beyer M160 ribbon
Kick in - Senn 602
Kick out - Neumann U47 FET
Rack tom - Senn 421
Floor tom - Senn 421
overheads - vintage AKG 414's about 4-6 feet above the kit
Overheads are panned hard L&R. Kick in vs. out balanced once and left pretty much dead center. Snare top/bottom balanced once and panned slightly right, hat panned a little more right, with the toms slightly left. Sometimes a mic on the crash cymbal panned slightly left. Most engineers set the drum mix to replicate what you hear when facing the drummer (crash on the left, toms/kick center, then snare, then hat to the right.)
For jazz, it's often snare top, kick out, and overheads. If there's lots of delicate brush work, then maybe a 57 on the snare top.
I used to be a minimalist-mics-only person, but I've since heard too many great recordings that take the multi-mic approach, so now I judge the results, and learn from the methodology. Also bear in mind that I'm talking about live room tracking only; live rooms range from neutral to dead. If you're in Carnegie Hall or the chapel Doug Sax used for the Harry James work, it's another game altogether. (BTW, has anyone figured out what the mic was over Les DeMerle's kit in those Sheffields?)
Results count, and technique teaches.
WW
"Put on your high heeled sneakers. Baby, we''re goin'' out tonight.
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Follow Ups
- micing drums - Bill Way 18:28:51 08/24/15 (0)
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