A to Z Drum Recording - 8 Channels and Cheap Mics - Tuning, Mic Technique, Drum Hacks
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- Опубліковано 2 сер 2022
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As for drum heads, I believe the smooth white theory. I had similar experience with remo ebony ambassador on resonant side. They sound (to me) a tad bit more controlled.
dude, your channel are one of the best, i learn a lot from you in how to get good recordings, i don´t know how some people are missing this channel
I like the way you approach this. I have always said that good tuned drums are half the battle
Thanks. Did see a lot of drum recording video's. Whats new? Change position of bass drum hole/rotate front head. The position of the bass drum mic. ORTF for overheads. The way you position that ORTF. SM57 bottom in stead of top. The self made bass speaker. Thanks for the downloads. It really is difficult to record drums in a small bedroom space. Did experiment a lot with gear and software. But ...paying attention to all factors/elements always will be heard by people: drums/cymbals, tuning, sticks, drumming, balance, room sound, mics, mic placement, cables, recorder and/or preamps, phase, DAW software, effects software, using group buses, effects on tracks,/buses/mix, mastering, monitoring system including sub, acoustics of mixing room, the song/composition, quality of the band members/play along, quality of camera, light, video software, ..
That was just incredibly informative and specific - thank you! I clearly need to get the drum recording series..
A ton of really great info, thanks very much! The combo amp makes me happy.
Brilliant video, amazing sound (!!!), super clear explanations and speech, cool video production, tasteful playing. Thank you!
Wow! Good stuff. Loved turning the combo amp into a mic, and the Lewitts sound great! Nice drumming,too.
that was awesome what you did with the guitar amp using it as another mic on the kick drum,thanks for sharing!
this is such a great video! great tips and well very produced
Very clear and useful information. Thank You!
This is fantastic stuff, man. Great, practical ideas that anyone can try, and that show the importance of things like mic placement and head choice. I've been seeing people use the speaker idea for years, but this convinced me.
Most helpful real world drum recording video I’ve seen in a long time thank you for your work!
One of the best tutorials. Thanks again, Ryan.
Awesome tutorial! Thank you!
Thank you for another great and very helpful video. Your videos are among the best!
never thought of a guitar combo amp as a sub kick, brilliant thank you. great explanations too.
Awesome video man, super informative, thank you!
Great that you offer a comparison and affordable solutions to expand your Red Pack drum library 👍
Thanks a lot for this video. Super useful as always. Loved the sub, the lewitts and the final sound is amazing. I think the isa do their job as well keeping everything not very colored.
Great video Ryan!!! I had a audix f6 laying around, which is like the lower version of the d6, but it does sound a bit different. It lives on floor tom for me, it is absolutely awesome sounding!! Very fat and round, it just gives you that perfect floor tom sound.
Great video. A master-class on micing a drum kit. Thanks
Very good video! Lots of good information laid out my good man! Thank you!🥁
Mate, you have so much love for the drums !! keep on king
Thank you for all of this!!!
Excellent. Super helpful! Than k you!!!!
Awesome vid! My band is currently recording live off the floor, using a tascam model 24...two overheads, kick and snare... and we get some pretty awesome results! sometimes less is more
Thanks. Great video.
Great video and awesome drum sounds! I may have missed it but what was the processing in the DAW (or mixer)? Maybe a quick vid to show how you mixed it with the awesome source tones? thanks again!!
Loved the amp subkick trick🔥
Impeccable, timely, perfectly-paced, simple techniques, attainable gear, a straight- line no frills road map to an awesome drum sound. This goes in the Pantheon of Actually Useful UA-cam Recording Tutorials, hands-down. Not the first of your videos that I've added to a playlist, but it goes to the top. Could have used a more detailed visual of the principles you described with with the stereo bar and placement directly over cymbal.
So much wisdom. Thank you
Brilliant vid!! I have the lewitt 140’s and sometimes/often they are a better choice than super expensive LDC’s as overheads.
Thanks for video and going to try out the overhead position with bar, need to check if you have a follow video showing your mixer faders to see how you blended to create full mix! Ciao Aldo
AWESOME VIDEO..! Thanks for sharing your great knowledge. Cheers!!! M.
this guy is a wealth of knowledge. grateful for him sharing this wisdom!
thanks so much for this!!!
Superb tutorial.
Thank you for really drumming sound good channel of yours, Bro - love those guitar amp ideas hahaha so cool. Cheers!
Thank you so much
Thats a really good sound. Seems like that speaker cab infront was adding some nice roomy meat to the overal mix
You sir, deserve a lot of respect.
Wow, this was a great video dude! You've got a great, genuine attitude and it shows in your presentation. You should start making/selling drum sample expansions.
this is the video i've been looking for :)
Great tutorial:)
The kick and snare sound immaculate. I would also like to add that drum heads, room, and overall quality of the actual kit, and ESPECIALLY the DRUMMER all add to the sound. Which is another way of saying that your drumming has gotten quite good over the years 😉
Great Video, Great content … Valuable Information 🤘🏽😎🔥❤️🙏🏽🇳🇨 … Thanks
The "subkick" or reverse-wired speaker: I usually see it mounted as a resonant head mic, way up close. I haven't thought to use it as far back as you have it but it sounds really tight and natural. I'm going to have to try some different distances with my Yamaha HS-80m Woofer.
Great info...Thanks. The lack of spill is extraordinary.Are you gating the mics?
I got a guitar cab for free with an open back they wanted to get rid of... I got spare caster wheels and another DI box... Sub kick without having to do much! Love your channel
Hey man, your videos are awesome! I did the low freq mic with the guitar amp as you did...simply great! I use a cheap bass amp 1 x 10".
More cheap that buying one and much better than if I do it my self with a woffer. Because the cabinet is perfect! Super easy to use!
The best hack! jajaja Thanks!
As every time, great solid rock content!
Nice video. The room contributes to the sound. Difficult recording in a small (bed) room.
The point you make at 5:42 is something I've found recently. I've been using a Heil PR-40 as a kick in mic for a few years, but it's not very forgiving. In my experience it either really works, or it really doesn't. If it really works, it takes EQ very well, but if it doesn't, no amount of EQ will make it sound good.
I use my custom built 112 guitar cabinet that is open back as a sub kick mic as well. I place it as close to the reso head as possible. I just flip the phase in the daw. Blend it with a 57 a few inches away from the beater inside. The 57 gets the snappy attack I need for that metal kick sound I need. The 112 provides the lows. I sampled it, and now we use it on a trigger. Works great and I don’t need to mix it every time, and I get my speaker back lol! But on new sessions, I’ll bust it out, but the trigger works well live. My drummer Always gets compliments on the live kick sound
Lewitt is great ... I have a couple 440s large diaphragm.
Thx!
As always, clear and understandable content. I greatly urge everyone of you guys to buy his courses. I have several of them and there's only useful info, no bs.
Dude, smooth white emps, I picked up a set of those a few months back and yeah, they are awesome. I had the exact same thoughts as you, they look dumb, and I associated them with like timbales or something. haha. A local drum shop was having the "crazy summer sale" thing and they were selling old heads for like 50 cents an inch, and Smooth White emps were the only ones they had in stock that would make a set for my dumb 5 tom kit. haha. (I actually ended up with a Smooth Ambassador for the 8" tom) and they are awesome, especially if you tune your drums to actual pitches like I do. They make a great note, almost like a concert tom, but then have the body of an emp. so good.
I love this channel. You should do mix critiques as I think a ton of mixing and recording nerds need to hear the truth and recieve great advice about their mix. I think it would be a fairly easy format video and could become very popular. We need to see you more and maybe this could get you interested about something new. Cheers mate.
These are great sounds you are getting. How much do you think the ISA adds to the overall sound of the recording?
sounding good!
Awesome tutorial. I see you had the OH pair kind of tilted to go across the ”kick-snare line”, if you know what I mean. That would’ve been a cool subject to delve into more. Btw, why do you prefer ORTF over XY, wider spread perhaps?
Cheers!
5:00 - Great video as always but can I ask with dark and bright in mind what do you say when it comes to a Cymbals ?
should consider still using a bright mic on the hi hat, yes?
cool sounding set up. my only question is about HH stereo placement. with the ortf overheads placed like this and no dedicated HH mic to balance it out in the mix, it seams the HH is almost at the center of the panorama. maybe with a closed HH and a drummer with good balanced playing (like yourself) it will pass... but if it was an open HH with a more aggressive drummer you would get the "HH everywhere" effect, no ?
Good one!
Thank you Nils!
Great tip on moving the port hole position. I'm new to drum micing, and I'm wondering... What if you place the mic just in front of the port hole without actually going inside? I tried this recently because I was limited by exactly what you described in the video, but it actually sounded good to me (again I really don't know what I am doing)... Is this considered bad form? If it matters, the mic I was using is an AKG D12VR - due to size and placement of the hole, it was impossible to get the boom arm in.
Send you a million hearts 💕 :)
Solomon loFreq is a really great sub kick mic that is right around $200. Obviously very specialized, but if you mainly records drums then I think it’s definitely worth the investment
Oh man, if you would make a pack of samples of your drums... With multiple velocities and RR... I like your snare drum (tuning in combination with Audix i5). I enjoy these transients every time :D
After completing the video, I do wish you would have explained more your positioning of the ORTF stereo set up, that's my biggest challenge right now. To me it looks like an unusual placement, but that could be due to the angle I'm seeing it in the video. I know listening with my ears is the answer, but I am currently doing this alone, and it would take me forever to reposition overheads, run into my control room, hit record and run back out to the drums, etc... I'm using K Custom darks, very nice sounding cymbals in my opinion.
Also, for the close mics, you explain finger heights and angles, but where are your ,ics pointing on the head? Center of the drum, out edge of the head, somewhere in between?
I noticed that you did not have your overheads aligned with the drums so that the mics for pointed directly at the left and right sides of the kit. Is there any particular reason for that? It sounded phenomenal, either way!
Your comments on cymbal quality were totally on point. I can identify B8 cymbals in a recording from a mile away and that's not a good thing. In fact, I have found some recordings unlistenable only because the cymbals sound distractingly bad. Zildjian K Hybrids are my favorites, for the most part (the rides, hi hats & crashes just sound like what cymbals should sound like), but I'm not fond of the splashes or Chinas in that series. The K Custom Dark ride is a very nice cymbal but I still favor the K Custom Hybrid ride for most uses. Anyway, great video.
Spot on! I have owned Z Custom and A Custom for years…the Z were always great live, but proved to be too friggin atomic for recording most of the time! For me, recording metal the A customs always sounded the best, and for rock/less heavy stuff, the K series is my go to…they are like spreading butter on a delicious piece of bread! 😃
Did you know that the kickpad KP1 is so hard to find in France 🇫🇷 ?
Very sad... 😢
Good video
@Creative Sound Lab, I’m not gonna lie, I was a little surprised seeing you use an SM7B on the kick. I’ve seen it used on hi hats, but never a kick. I would’ve expected a D6 or D112. I’ve used a guitar amp for a sub-kick, in fact, that amp blew and it may end up becoming a full time sub-kick, but I never thought to use a D-Box. I think that I may have to invest in one. Was it a powered D-Box or unpowered?
Passive DI box. And SM7B is one of those mics that can be used on about anything.
16:17 - two quick questions, please!
Will it be a good idea to carve out some of the high end of that floor Tom to reduce cymbal bleed (I can hear high hat, even, from the other side of the kit through this mic)
Also tuning the bottom heads high pitch: do you do that with the Tom as well (any thoughts on tuning the snare drum for recording would be interesting as well please) THANKS!!
You can always use the old multiband expander trick to duck out the high end except for when the drum is being hit, and/or manually cut out the spaces in between hits. Depends what kind of drum sound you're going for.
Can confirm tuning the reso head a minor third up sounds great, as long as both heads are in a range that suits the drum. For snare, crank the bottom head and tune the top head to taste. Again, depends on what kind of sound you're going for.
@@perpetualgrimace more great info!
Thanks for your time and patience👍
@@BeesWaxMinder Sure thing, good luck with your recording!
Did you use the air button on the LCT 140s, or leave them flat ? I'm assuming for overheads, it's probably better to leave them flat, so the cymbals aren't too bright / harsh? If so, the even less expensive LCT 040 match might be ideal, but the air button seems to be popular for acoustic guitar, so a nice option to have if you need it. Are these your "go to" SDCs for overheads now, or do you still prefer the more expensive Soyuz 013 ?
I like them flat. They have a nice mellow sound that way. I use all sorts of SDCs, but these Lewitts are solid for the money. The Soyuz sound good, but are brighter. I'd feel ok with going for the LCT 040 you mentioned if you don't need the other options.
isnt ORTF positioning usually over the center of the drums pointing across it symmetrically? the mics pointed kinda random there...
Top
I got a dumb question :(
Spatial thinking and arrangement is not necessarily my gift. I have a Rode stereo bar but record 99% of the time using a spaced pair of overheads simply because I cannot seem to get placement correct with the stereo bar. Hard to make it make sense because English is not my gift either. You got a link with more pictures of your overhead setup, particularly the extension or whatever junction you are using to attach the stereo bar to your mic stand?
If that stereo bar had an omni ball style mount, I don't think we'd be having this discussion 🤣
👍
What if you mic'd the high tom from underneath with a small hole in the bottom head, just big enough to get the mic in similar to bass drum, then tuned concert tom feel? id watch that video.
That would disrupt the reso head’s performance, but you could do something similar by miking internally with a micro SDC like a DPA 4099 and passing the cable through an air vent.
One of the greatest channel for recording on youtube! Just read the book of Sylvia Massy. There shes Talking about using a Shotgun Mic as a third Overhead Mic to enhance the Snare sound and cut of the cymbal bleed. Ofcourse there are normal overhead mics aswell Did you ever tried that?
Ooh that's an interesting idea
@@perpetualgrimace Get the Book, its very interesting!
That is freaking brilliant. Sylvia is one of the very best to ever do it!
When I record my drums I always use shotgun microphones... Audio Techinca and they sound pretty good as overheads!
Soo many videos about mics and positioning but i cant find anything about the inputs. where are all the cables going!
Hola me explicarías ese dispositivo que le conectaste al micrófono del kick? Como se llama y que hace?
Earthworks Kick Pad, I think
I use a beta 87A for the kick - cuz that was the best mic left lmao - Lyx Pro overheads (ridiculous, and I mean, ri-di-cu-lous for the price...!!!), and an older live Apex mic from the snare, when I want a super-compressed sound. Here's the result : ua-cam.com/video/zZ72RyB-xUM/v-deo.html
Using the speaker as a pre-amp is brilliant (at least that what I thought you did lol). However, when doing the inverted speaker wiring to transform into a mic (à la Yamaha Subkick), you do need a really good pre-amp because of how low the signal will be...! Although such high-quality DI do the trick as well for those unable to afford 1073s or equivalent headroom pres, or just a cloud-lifter would be great as well. Also the Joey Jordison (RIP) signature snare might just be the most underrated steel snare out there :O
Finally, ORTF is great, but only from a distance! It was made to capture orchestras. If you do have the room for it, like really high ceiling (15 feet +), then yes, ORTF is superb!
In my recording here are no tom microphones tho, but I need to expand my kit. It seems we have a similar overheads philosophy, only I place them dead center. I need to try your technique. Sounds amazing! Peace!
P.S. : Check out the older Avedis. From the price, they are crazy good in studios!!!
Interesting he opted for a sub kick in place of a mono room mic 🤔
Why this SM 7 B, a much cheaper for example Akg would have done it even better
Audix i5 squad assemble!
Can we talk about the lack of bleed in this setup? How is this even possible lol.
🤣 ρяσмσѕм
These are not cheap mics. I was expecting some staggs or t.bones 😂
You can get great sounds with really cheap mics. Check my reel : ua-cam.com/video/zZ72RyB-xUM/v-deo.html
Is it as good? No, I'm not as good, but I'd say, as a pro, I'm confident it's darn close! OK, the only expensive mic is a Beta 87A on the kick drum, but truthfully, if you're EQ skills are decently good, just throw in a SM57.
My first subkick was actually a headphone. My dad had this old pair of Panasonic headphones width 60mm drivers. They were nice headphones while they lasted, but they had a short and one of the drivers was getting a little rubby, all very common things that happened with old headphones. So anyway, I had a marching bass drum that I used, handheld beater with a rubber ball on the end (just a regular stick, broken off and sharpened with a pencil sharpener, stuck in a rubber ball), then I'd have the snare set up with a regular stick in my left hand. This was because I hadn't even started trying to learn drums. So anyway, I had 4 channels to work with, so I did set up overheads in X/Y, and the snare was really loud so I didn't close mic it. Cymbals were recorded separately. I had an SM58 inside the kick drum, or rather the bass drum, but then I also put that headphone on the floor. That's how I learned to actually. My sister and I figure it out, when we only had one microphone, that you could plug headphones into the quarter inch input and sing into one side. Many years later, as an adult, I heard of the subkick and I wasn't even surprised, I knew that this could be done. I had just never tried it with a full size speaker.