@@No_Transitory depends on the vibe you're going for. Using a subkick in conjunction with a kick out and kick in allows for a neat sound when crossing over each mic at specific low mid and high frequencies. 500 and 2k. Bus them after crossing over and eq it as one kick drum mic. Stellar!
If I'm miking a set with only one mic, I'm doing it right in the middle of the kit - put it low, right over the kick, in between the high and mid toms, pointed at the snare. It works unbelievably well to pick up everything on the kit and doesn't get much of the room in comparison to the single mic position shown here.
Yeah these minimal mic videos they always put the mics too far away, especially when they use the overheads, the overheads need to be waayyy lower, and preferably instead in front or back sound much better.
Fantastic video. Thanks, Mitch and Nick! Both superb as always. As drummer since '82, I've tried many mic techniques, with the classic Glyn Johns being my favorite by far for "live" sessions and demos.
Very thorough, thank you! That was an excellent summary of microphone techniques for drums, and I liked the extra focus around 2 and 3 microphones, for us that like to keep it simple and phase issue free!
Every gig I've played in the last 17 years I've always had the bass drum mic'd up even in a small pub corner / cafe gig. Due to convenience I think I limit at three: bass, left overhead and right overhead. Any more and it's more gear, cables and time setting up. But more importantly that is a beautiful looking kit.
You are 100% correct. I was always telling bar bands this exact same thing. Always bring a mic for the kick regardless of the size of the room, PA, etc. Anything more than that, is a cherry on top.
Miking live a set of drums by 1 OH and 1 kick, Glyn John technique, and also 1 kick 1 snare and 1 OH... Overall, these 3 technique are the best for me on a situation with limited slots for mic input on the mixer.... I do use dynamics for close mic like kick and snare and a condenser with a large diaphragm for OH...
Got my Tascam US 16x08 from u guys a couple months ago , am learning , thanks for the help at my over half a century of age !!!!! nice to have options on drums as a guitar player I need this
This is an excellent video. Honest teachers. No doubt that you care about sound and songs. I didn't feel like this was a video that was overtly trying to sell me something. I felt like it was just a fantastic summary and I'll share it.
I really appreciate not only how informative this video is, but how positive these two are towards all the methods. I'm working with a four mic setup right now, but hearing how good the mono setups sounded made me much more confident in my abilities and resources currently available to me. At no point did I feel like I was being talked down to. Really appreciate this, guys. Thank you.
Great video, lots of useful info packed in there. If you're doing a follow-up, it'd be interesting to hear different stereo recording types. We only got to hear two here, the Glyn Johns and the A/B-pair. It would be really cool to be able to compare X/Y, ORTF, M/S and Blumlein stereo setups in the same vein as this video.
Great and usable video. From my perspective with all the different variants of 1-3 mics it was only the toms that seemed to really suffer. Their pitch being higher sounding and somewhat distant, but still usable. Tuning the toms differently could help with that maybe, not sure. It's amazing how well 2 good overhead mics can pick up the cymbals so well these days.
I think that Mid Side mic techniques could have also been explored in this video, for example using a cardiod pattern mic pointed at the snare from above (mid) and using a figure 8 mic turned 90 degrees (side) pointing at the first mic.* I think it's a very good way to get a stereo image, especially in an imperfect room. *The "side" signal would be duplicated, hard panned left and right, and one of the 2 signals would have polarity reversed.
This was so informative, thank you so much. So far I really dig the Glyn Johns Technique. I’m really liking the mono sound. For some reason, the stereo sound is too roomy for me and my music, although I’m sure the engineers can mix it to sound amazing either way. Thanks again!
Great, informative video! I’m just a home amateur with one condenser and one decent vocal dynamic mic. One time I used the condenser as an overhead, and placed the dynamic on the beater side of the kick drum, but facing slightly upward so as to catch some snare drum. With some eq, I actually think I got a decent sound.
The sound of setup one and 2 was bass drum heavy because of the port. You could modify this by not cutting open the head. 🤷♂️ Glyn Johns method was the coolest is my opinion.
in the 4 mic tecnique with 2 overheads, you have to set the overheads at the same distance from the snare to deal with phase, like in the 3 mic "Glyn Johns" method?
Another great video guys. What was the panning of the Glyn John's more or less? I've seen videos of him saying he never hard pans them but never seen any mention if they're still equally panned or if one mic is panned more than the other, etc.
the two miks 2.55 aren´t in phase. in mono the one mik sounds better, and mono is what counts. but the miks sounds really nice. it´s only the placing i don´t like ^^
This is Excellent, will be taking this knowledge into the studio next month, do you think these techniques would have sounded different recorded on oldschool tape?
Hey, Laurence. Great question! The recording techniques presented here apply to all recording mediums, including tape. Feel free to reach out with any other questions. Thanks! Jason Filloramo, Sweetwater Sales Engineer, (800) 222-4700 ext. 1281, Jason_Filloramo@sweetwater.com
Hello, zhaoxie8928! There are a few variables to consider here. If your mixer allows for phantom power to be switched on a per channel basis, simply toggle phantom power on for only the channels that have condenser mics plugged in. If your mixer has global phantom power across all channels, you still should be safe. Dynamic mics and most modern ribbon mics can handle phantom power without damaging anything. The exception to this is some vintage ribbon mics, which can have their ribbon elements destroyed by phantom power. If you are at all unsure, please call us before doing anything and we can assist! Thanks for the interest! Cody Kraus, Sweetwater Sales Engineer, (800) 222-4700 ext. 1766, cody_kraus@sweetwater.com
in the two mic overhead set-up ... curious as to why sometimes I've seen people aim the two mics pointing directly down at the kit (6 oclock position) - and other times (like you're doing here), pointing toward each other (3 or 9 oclock position). Why is that? different mic types? thanks.
Thanks for this superb vid. A question. Say I use two overhead condensers. Two dynamics on kick and snare. If I take these into my Zoom MRS-8 recorder..one into each track... Will I then EQ and pan to my liking, then bounce onto one track.. ??... If so..will that, then, be a single, stereo, track? I'm not using pc technology. A beginner.. basics. Thanks. Nick
Hey, Nick! Thanks so much for reaching out. That’s a great question. The MRS8 will bounce all of your recorded tracks into a single stereo track, which is technically 2 tracks - 1 left and 1 right. This way, all your panning that you do in the mixing stage will be represented within the final mix. I hope this helps! Nick Pasquino, Sweetwater Sales Engineer, (800) 222-4700 ext. 3230, nick_pasquino@sweetwater.com
Hey, Tony. Thanks so much for your interest. It would work well but it depends on how you’d connect them. Unfortunately you can’t connect mics directly to the EAD so they both would have to go to a different interface. I hope this helps. Jason Thiele, Senior Sweetwater Sales Engineer, (800) 222-4700 ext. 1391, jason_thiele@sweetwater.com
@@sweetwater Hi Jason! Thanks for the reply! Actually, I purchased both the Yamaha EAD10 and the Avid Studio Pro from Sweetwater. 😉 I also had two mics intended for overhead use. So, was interested in integrating them all to mic my drum kit. Hoping I can get them working together for practice sessions and recording. I’ll be working with my Sales Engineer. 😊👍🏻
Two years later, yes I kn0w. But! You keep talking about the stereo image, rack tom to the left, floor tom to the right. To me it sounds like the stereo image has been reversed, maybe to accommodate what we see in the video?
Sounds good! You guys forgot to check "Phase" with more than 2 mics it sounded there's a phase issue, the kick sounded thin! With the kick and only one overhead mic sounded good, but the stereo over head has phase issue.
We just added it to the gear in the video list: www.sweetwater.com/shop/how-to-mic-a-drum-set-with-1-2-3-4-and-more-mics/?UA-cam&Referral&ObDMKuromg8 Thanks!
Hey, Randy. Thanks so much for your interest. That's a Mapex Armory kit in Ocean Sunset. It’s a beautiful color and is only available here at Sweetwater. Here is the link: www.sweetwater.com/store/detail/AR628SFUJG--mapex-armory-6-piece-studioease-fast-tom-shell-pack-ocean-sunset-sweetwater-exclusive Thanks so much for checking it out! Best Regards, Jason Thiele, Senior Sweetwater Sales Engineer, (800) 222-4700 ext. 1391, jason_thiele@sweetwater.com
Maybe it’s just me but the mono drum mic was enough. Especially in the realm of sample replacement in mixing. Would be far less fuss. Besides that, Glynn John’s was the most tonally interesting. Everything else sound plain plain 😝🙅🏾♂️
14 mics is best on a 6 piece kit to give the mix and master all options when adding in other instruments and vocals. 2 kick, 2 snare, 4 toms, 2 overheads, hats, ride, 2 rooms. Different mics, mic pres, eq, compression, fx delay reverb, panning, / One mic has no options and frequencies will get buried when adding bass lows, guitar mids highs, vocal mids highs, keys, etc. options are good, listen to Boston, or tool compared to the Beatles. Depends what you are going for. Room treatment, drums tuning, player all come into the mix. Enjoy.
@@latentsea I hear ya. Depends on the purpose of the drumming. For many popular music production, so many samples are used anyway. What I’m looking for in drums (for most hip hop & breakbeat, pop stuff I enjoy) would be image, tone, feel & ambience. Close mic’d transients isn’t always the critical part. You can slice any part that mono or Glynn John’s track that needs to trigger direct samples (kick, snare, etc.) Tom fills can easily be sample fills, same for hats. Less mics. Less tracks. Less editing. Less “choosing”. More forward progress. Usually the simplest solution can be the best one. These three drum mic setups I enjoy most tbh - Snare, Kick & Mono OH for breakbeat & hip hop stuff (with no tom usage). Really tight sound w/ an OH that can be smashed if a thrusted ambience is needed. - Glynn John’s for a wide depth of field. mic on the kick & snare. Great for a wider drum capture. Usually yields a more ambient tone. - And then there’s a good ol’ mono room mic that’s gonna capture the basic experience any listener would in front of a kit. A lot can be done with something simple as that. Sidechain processing, splicing, chopping, expanding, sample triggering, etc. Plenty of stuff can make that interesting/creative. (That’s just what my creation style is - and the type of drum tones I like to hear). I understand we may differ.
Got a mic? Then you can record your drum kit! If this video helped you let us know by hitting like and subscribe🔔Thanks for watching!
How do you feel about subkicks?
@@No_Transitory depends on the vibe you're going for. Using a subkick in conjunction with a kick out and kick in allows for a neat sound when crossing over each mic at specific low mid and high frequencies. 500 and 2k. Bus them after crossing over and eq it as one kick drum mic. Stellar!
T²
If I'm miking a set with only one mic, I'm doing it right in the middle of the kit - put it low, right over the kick, in between the high and mid toms, pointed at the snare. It works unbelievably well to pick up everything on the kit and doesn't get much of the room in comparison to the single mic position shown here.
Yes, this is the best way to do it with one mic. One mic out in front will always sound terrible.
what mic are you using ?
I got a pretty good sound doing a condenser in front / high on the kick 1 inch in front maybe
Mhmmmm facts
Yeah these minimal mic videos they always put the mics too far away, especially when they use the overheads, the overheads need to be waayyy lower, and preferably instead in front or back sound much better.
You bet! (New drinking game)
Came here to make this comment
Tight is a better game. Let's tighten things up!
Haha love it! And man this video really helped
‘nice and punchy’
Or “add a little EQ”
The outro with all the different setups was dope. Good idea to all those involved.
Editor must have had fun lining that up at the end lol
Single mic sounded great. Nicely tuned kit with a tight player.
Great of Sweetwater to make these videos. Highly interesting, and builds a lot of goodwill.
It's amazing that Nick was able to give such a consistent performance that you could do that final edit with all the setups.
👏👏👏
Fantastic video. Thanks, Mitch and Nick! Both superb as always. As drummer since '82, I've tried many mic techniques, with the classic Glyn Johns being my favorite by far for "live" sessions and demos.
How valuable! Thanks guys for making this video! I was expecting to go down a confusing rabbit hole, and here you were! Thank you, so much!
Examples:
1 mic
1:25
2 mics
3:00 4:18
3 mic
5:20 6:31 8:56
4 mics
10:56
6 mics
11:58
8 mics
13:02
Very thorough, thank you! That was an excellent summary of microphone techniques for drums, and I liked the extra focus around 2 and 3 microphones, for us that like to keep it simple and phase issue free!
Fantastic job guys! most complete approach on variations ive seen on the capturing drumset sound ive seen . thanks so much.
Thanks for checking it out, Louis! 👍
It's amazing how the Glyn Johns method still sounds cooler than using 4 and even 5 mics.
Mitch says it’s one of his favorites
Yup
Just be careful when hitting a crash symbol
Even one mic can sound great in a song. In some songs, it’s might be the best match.
@@ramencurry6672 So true, you gotta do what the song demands
@@Gretsch0997 why?
Every gig I've played in the last 17 years I've always had the bass drum mic'd up even in a small pub corner / cafe gig. Due to convenience I think I limit at three: bass, left overhead and right overhead. Any more and it's more gear, cables and time setting up.
But more importantly that is a beautiful looking kit.
You are 100% correct. I was always telling bar bands this exact same thing. Always bring a mic for the kick regardless of the size of the room, PA, etc. Anything more than that, is a cherry on top.
That’s one nice drum set!
You can check it out here: www.sweetwater.com/shop/how-to-mic-a-drum-set-with-1-2-3-4-and-more-mics/?UA-cam&Referral&ObDMKuromg8
Drinking game idea: take a shot every time Nick says "You bet".
Ok the sound of that one mic in front of the kit sounds INCREDIBLE, a lot better than some close mic setups I’ve heard
That one mic method sounds better than some kits i've heard with 10 mics 😂
The Glyn Johns sounds amazing. Their seams to be an openness to it that is very appealing.
There aren’t many resources like this, other than Glenn fricker, who just does metal.
Not to mention his "techniques" just produce garbage
Glenn Fricker has the best thumbnail pics on UA-cam
then you are not looking. you tube is filled with how to mic drums and mic videos.
@@AP02112 lots of times, not always. got some of our work to compare so i can see who is judging?
@@morbidmanmusic what I said was that there aren’t many resources on UA-cam like what sweetwater provides. Those channels are not like this
That Glyn Johns really left me speechless.
Really need to try that with my kits!
Definitely!
Literally just bought my first mic kit and this shows up!
Edit: bought it from Sweetwater: Samson dk707
I like the single mic.. very natural sounding.. no phase
We need more Mitch and Nick videos.
Miking live a set of drums by 1 OH and 1 kick, Glyn John technique, and also 1 kick 1 snare and 1 OH...
Overall, these 3 technique are the best for me on a situation with limited slots for mic input on the mixer....
I do use dynamics for close mic like kick and snare and a condenser with a large diaphragm for OH...
i really like the first one
I love the show but I’ll love to see how you EQ your overhead mics and room mic as well.
Got my Tascam US 16x08 from u guys a couple months ago , am learning , thanks for the help at my over half a century of age !!!!! nice to have options on drums as a guitar player I need this
These two are the GOAT.
This is an excellent video. Honest teachers. No doubt that you care about sound and songs. I didn't feel like this was a video that was overtly trying to sell me something. I felt like it was just a fantastic summary and I'll share it.
I really appreciate not only how informative this video is, but how positive these two are towards all the methods. I'm working with a four mic setup right now, but hearing how good the mono setups sounded made me much more confident in my abilities and resources currently available to me. At no point did I feel like I was being talked down to. Really appreciate this, guys. Thank you.
The Glyn Johns Method really surprised me !! Great sound and in my opinion even better than with the snare mic
Love nick's videos always they are great!
These how to videos are very informative. The big question is do you use the same techniques/placements with a 5,6,or 7 piece kit?
❤ this channel
Great video, lots of useful info packed in there. If you're doing a follow-up, it'd be interesting to hear different stereo recording types. We only got to hear two here, the Glyn Johns and the A/B-pair. It would be really cool to be able to compare X/Y, ORTF, M/S and Blumlein stereo setups in the same vein as this video.
Great and usable video. From my perspective with all the different variants of 1-3 mics it was only the toms that seemed to really suffer. Their pitch being higher sounding and somewhat distant, but still usable. Tuning the toms differently could help with that maybe, not sure. It's amazing how well 2 good overhead mics can pick up the cymbals so well these days.
I think that Mid Side mic techniques could have also been explored in this video, for example using a cardiod pattern mic pointed at the snare from above (mid) and using a figure 8 mic turned 90 degrees (side) pointing at the first mic.* I think it's a very good way to get a stereo image, especially in an imperfect room.
*The "side" signal would be duplicated, hard panned left and right, and one of the 2 signals would have polarity reversed.
I have 1 mic no stand what i do lye it on the floor right by snare hihat and kick sounds great cheers from holland
very interesting video! just got my first acoustic drum kit and will try some of those tricks for sure!
Wow, the single mic sounded amazing
Everyday is a learning day, @Sweetwater
1 mic: 01:25
2 Overhead: 03:00
1 Kick, 1 Overhead: 04:18
1 Kick, 2 Overhead: 05:20
1 Kick, 1 Snare, 1 Overhead: 06:30
Glyn Johns Method: 08:56
1 Kick, 1 Snare, 2 Overhead: 10:56
This is a very good video.
very good demonstration!
You are doing great work. Thank you. Respect. Love
This was so informative, thank you so much. So far I really dig the Glyn Johns Technique. I’m really liking the mono sound. For some reason, the stereo sound is too roomy for me and my music, although I’m sure the engineers can mix it to sound amazing either way.
Thanks again!
Nice.super.solid.great.and all the best.good recorded. Sounds.
Great, informative video! I’m just a home amateur with one condenser and one decent vocal dynamic mic. One time I used the condenser as an overhead, and placed the dynamic on the beater side of the kick drum, but facing slightly upward so as to catch some snare drum. With some eq, I actually think I got a decent sound.
Awesome video guys!
The sound of setup one and 2 was bass drum heavy because of the port. You could modify this by not cutting open the head. 🤷♂️ Glyn Johns method was the coolest is my opinion.
I'm used 8 mic drum on the
Kick
Snare top , snare bot
Hh
Tom1, Floor
OvL - OvR
Two mikes out front had a nice jazzy sound in the crashes. Overall ... probably gotta go Glynn Johns method.
I’m assuming there’s some really good DAW work happening to get this good of sound out of 2 mics
What if I don't have a drumset, can I still mic it?
in the 4 mic tecnique with 2 overheads, you have to set the overheads at the same distance from the snare to deal with phase, like in the 3 mic "Glyn Johns" method?
Amazing, informative video.
Often times, less is more. I have done both and have a full set of drum mics.
My drummer has the symbols rather high (hail, hail rock and roll); in this case how high do you put the overheads? Or where do you put them?
Another great video guys. What was the panning of the Glyn John's more or less? I've seen videos of him saying he never hard pans them but never seen any mention if they're still equally panned or if one mic is panned more than the other, etc.
How about a mixer? Amp?
best was led Zeppelin micing 👍
the two miks 2.55 aren´t in phase. in mono the one mik sounds better, and mono is what counts. but the miks sounds really nice. it´s only the placing i don´t like ^^
Are there more affordable overhead mics?
What’s the ride you using on the kit? Thanks
What cymbals were used in this vid? I‘m especially wondering about that right hand crash.
This is Excellent, will be taking this knowledge into the studio next month, do you think these techniques would have sounded different recorded on oldschool tape?
Hey, Laurence. Great question! The recording techniques presented here apply to all recording mediums, including tape. Feel free to reach out with any other questions. Thanks!
Jason Filloramo, Sweetwater Sales Engineer, (800) 222-4700 ext. 1281, Jason_Filloramo@sweetwater.com
What mixer and speakers are you using?
connecting ordinary mic and condenser mic in a mixer simultaneously, will it affect the ordinary mic if the phantom power is on?
Hello, zhaoxie8928! There are a few variables to consider here. If your mixer allows for phantom power to be switched on a per channel basis, simply toggle phantom power on for only the channels that have condenser mics plugged in. If your mixer has global phantom power across all channels, you still should be safe. Dynamic mics and most modern ribbon mics can handle phantom power without damaging anything. The exception to this is some vintage ribbon mics, which can have their ribbon elements destroyed by phantom power. If you are at all unsure, please call us before doing anything and we can assist!
Thanks for the interest!
Cody Kraus, Sweetwater Sales Engineer, (800) 222-4700 ext. 1766, cody_kraus@sweetwater.com
in the two mic overhead set-up ... curious as to why sometimes I've seen people aim the two mics pointing directly down at the kit (6 oclock position) - and other times (like you're doing here), pointing toward each other (3 or 9 oclock position). Why is that? different mic types? thanks.
Great video
Thanks for this superb vid.
A question.
Say I use two overhead condensers.
Two dynamics on kick and snare.
If I take these into my Zoom MRS-8 recorder..one into each track... Will I then EQ and pan to my liking, then bounce onto one track.. ??...
If so..will that, then, be a single, stereo, track?
I'm not using pc technology.
A beginner.. basics.
Thanks.
Nick
Hey, Nick! Thanks so much for reaching out. That’s a great question. The MRS8 will bounce all of your recorded tracks into a single stereo track, which is technically 2 tracks - 1 left and 1 right. This way, all your panning that you do in the mixing stage will be represented within the final mix.
I hope this helps!
Nick Pasquino, Sweetwater Sales Engineer, (800) 222-4700 ext. 3230, nick_pasquino@sweetwater.com
Wondering how a Yamaha EAD and two overheads (one dynamic, one condenser) would do? 🤔
Hey, Tony. Thanks so much for your interest. It would work well but it depends on how you’d connect them. Unfortunately you can’t connect mics directly to the EAD so they both would have to go to a different interface.
I hope this helps.
Jason Thiele, Senior Sweetwater Sales Engineer, (800) 222-4700 ext. 1391, jason_thiele@sweetwater.com
@@sweetwater Hi Jason! Thanks for the reply! Actually, I purchased both the Yamaha EAD10 and the Avid Studio Pro from Sweetwater. 😉 I also had two mics intended for overhead use. So, was interested in integrating them all to mic my drum kit. Hoping I can get them working together for practice sessions and recording. I’ll be working with my Sales Engineer. 😊👍🏻
what was the 1 mic first one I think. Would love to know the name of that mic
You bet
Hey guys, what's you approach to mic overheads? (Specially in this video) Thanks a lot!
I like pointing them at the drummer ears. That’s just me, experiment and see what works for your room!
Two years later, yes I kn0w. But! You keep talking about the stereo image, rack tom to the left, floor tom to the right. To me it sounds like the stereo image has been reversed, maybe to accommodate what we see in the video?
Sounds good! You guys forgot to check "Phase" with more than 2 mics it sounded there's a phase issue, the kick sounded thin! With the kick and only one overhead mic sounded good, but the stereo over head has phase issue.
Somebody wanna count how many times Nick said you bet in this video? LOl
What’s the software you are using in the laptop?
What kit was nick playing for the demonstration?
you bet :)
Is this with the mics straight into the recorder or are they connected to preamps?
Straight to interface
YOU BET!
What mic stands are you using with the overheads?
You bet.
why does the drummer look so familiar? 9 minutes in made me realize the drummer is the same the dude on the right there. lmao haha.
*chuckles in Yamaha EAD10*
"you bet"
Take a shot every time Nick says “you bet”
Take a shot every time that Nick says "you bet"
"You bet!"
Best way to go is 1 overhead and 1 kick drum mic, nice and simple
What do you think, did he bet?
What kit is that? It doesnt look like the mapex saturn or design lab drums, is that an armory kit?
We just added it to the gear in the video list: www.sweetwater.com/shop/how-to-mic-a-drum-set-with-1-2-3-4-and-more-mics/?UA-cam&Referral&ObDMKuromg8
Thanks!
Hey, Randy. Thanks so much for your interest. That's a Mapex Armory kit in Ocean Sunset. It’s a beautiful color and is only available here at Sweetwater. Here is the link:
www.sweetwater.com/store/detail/AR628SFUJG--mapex-armory-6-piece-studioease-fast-tom-shell-pack-ocean-sunset-sweetwater-exclusive
Thanks so much for checking it out!
Best Regards,
Jason Thiele, Senior Sweetwater Sales Engineer, (800) 222-4700 ext. 1391, jason_thiele@sweetwater.com
ihhhhh prefiro o vídeo do lisciel ksksks
Maybe it’s just me but the mono drum mic was enough. Especially in the realm of sample replacement in mixing. Would be far less fuss. Besides that, Glynn John’s was the most tonally interesting. Everything else sound plain plain 😝🙅🏾♂️
14 mics is best on a 6 piece kit to give the mix and master all options when adding in other instruments and vocals. 2 kick, 2 snare, 4 toms, 2 overheads, hats, ride, 2 rooms. Different mics, mic pres, eq, compression, fx delay reverb, panning, / One mic has no options and frequencies will get buried when adding bass lows, guitar mids highs, vocal mids highs, keys, etc. options are good, listen to Boston, or tool compared to the Beatles. Depends what you are going for. Room treatment, drums tuning, player all come into the mix. Enjoy.
@@latentsea I hear ya. Depends on the purpose of the drumming. For many popular music production, so many samples are used anyway. What I’m looking for in drums (for most hip hop & breakbeat, pop stuff I enjoy) would be image, tone, feel & ambience. Close mic’d transients isn’t always the critical part. You can slice any part that mono or Glynn John’s track that needs to trigger direct samples (kick, snare, etc.) Tom fills can easily be sample fills, same for hats. Less mics. Less tracks. Less editing. Less “choosing”. More forward progress. Usually the simplest solution can be the best one. These three drum mic setups I enjoy most tbh
- Snare, Kick & Mono OH for breakbeat & hip hop stuff (with no tom usage). Really tight sound w/ an OH that can be smashed if a thrusted ambience is needed.
- Glynn John’s for a wide depth of field. mic on the kick & snare. Great for a wider drum capture. Usually yields a more ambient tone.
- And then there’s a good ol’ mono room mic that’s gonna capture the basic experience any listener would in front of a kit. A lot can be done with something simple as that. Sidechain processing, splicing, chopping, expanding, sample triggering, etc. Plenty of stuff can make that interesting/creative.
(That’s just what my creation style is - and the type of drum tones I like to hear). I understand we may differ.
Is it just me? I preferred the single mic out front.
"nice and punchy" lol