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In Reply to: The Shure SM81 and mic'ing drums posted by quantumeffect on January 8, 2005 at 20:31:36:
Here's one I've used to good effect. First pass with drums, no cymbals whatsoever. Remove them from the stands so the drummer can't hit them. Record the kit with the 81s in whatever stereo technique you prefer overhead, and add a mic on the kick. Then on the second pass, let him have his cymbals back and have him just do the splashes, crashes and rides. You'll be pleased at the balance you'll be able to get with just the drums on a stereo pair, the cymbals on a stereo pair and the close mic'd kick added in just enough for the whoomp.
Follow Ups:
Try this one for separation -
Kick (gated) -
snare (gated only if the groove is simple) -
toms (gated), you can submix and eq the group if you must. -
overheads quite far apart and reasonlably close (1 - 2 feet) to cymbals, pointing toward the cymbals but angled away from the snare, angled slightly towards each other.I'd recommend putting the overheads on a stereo channel with a highpass filter on with a corner frequency between 400Hz-700Hz then run that signal through a compressor with fast attack and fast release about 2:1 ratio and gain reduction peaking at around 10db.
This will bring up the Hihat and ride which would otherwise suffer from these mic positions and also squash the snare down on each hit.
give it a go. - by preference you'd want to get a hihat mic and ride mic and change the overheads to a coincident pair or mid/side matrix arrangement - this gives a much smoother balance of the overhead of the kit, but it takes an extra two channels and mics.
hope this helps, ta,
neak
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