Starting out as a Drummer playing in and around Bucks County Pennsylvania Jim was published BMI in Nashville on Music Row at Trowbridge Publishing LLC after years of learning the use of Analog Multi-Tracking eventually to Digital World of recording. " The two mics will not look balanced visually, but this should eliminate phasing issues since both mics are equidistant from the sound waves the snare is producing. Remember, these are just guidelines, always defer to the judgment of your ears. Pointing straight down or even off the edge of the cymbal maximizes the, Move the mic towards the Bell for a more tighter sound, For a heavier hitter-move, the mic higher to keep control of the cymbals, The Mic stays approximately 6 ” from the top of the surface of the cymbal. Get new heads and pay attention to the tuning. Curious what other people have to say. I always prefer miking from above where you have more room to maneuver and are able to back the overhead mics away. The proper microphone placement for your kit should capture the variety of sounds that each one of the cymbals is capable of making, There is a variety of methods to do this. Place the mics for the Toms as far off the axis of the cymbals as possible to mitigate cymbal noise that will bleed through. The instrument The hi-hat is a combination of two cymbals and is played either with the left foot or with the sticks, brushes or mallets. A small Diaphram Condenser Mic located 1/2 way between the Bell and the Edge on the outside half of the Ride cymbal. Feel free to engage a high pass filter, as many of the lower frequencies will be cut out later — it’s the higher frequencies you want with cymbals. But what about the sound? The main difference is the sonor changes it makes and the extra capacity for it gives the player because of the position. Use Hi-Pass filter on the Console or the Microphone that will eliminate some of the ambient sounds, Pan the Left Mic far left and the Right Mic far right-4-6 feet above the kit, If using more than one overhead mic, check the polarity between the two (as well as between the overheads and kick and snare mics) and flip the phase accordingly, The most important aspect of miking a Hi-Hat is that the diaphragm should be pointed the source. With a half-decent mic, usually a small Diaphragm Mic, you should be able to get a variety of pro sounds off your cymbals if the placements and positions are correct. Use the Ride Cymbal Microphone to work with the Overhead mics. Neumann KM 184 Small Diaphragm Condenser Microphone Satin Nickel– can make a Hi-Hat Cymbals a little darker and take some over brightness out. Overheads-Condenser Cardioid Mic- 1-2 ft. or so above cymbals. With a decent mic, minimal recording equipment, and good knowledge on positioning and Placement, you can make your music sound the very best it can sound". Make sure that both Mics are an equal distance to the Snare Drum. Make sure to pan your mics according to where they are on the kit, far left and far right, etc. The ongoing quest for the Drummer to quiet his/her kit in certain situations have come up with some great helpful audio accessories that lower the sound decibels and make some folks happy by doing... JimGalloway is well-known Songwriter from the Philadelphia and Jersey Shore area. Most Drummers believe the overhead-sound is important for the overall-drum sound, even if you replace all the drums you should try to keep a natural overhead-sound with the natural stereo-feel. So use a smaller Diapragm Pencil Condenser middle of the road if you can. To ensure the Snare and Kick drum are even to the overheads, take a cable an XLR cable or any kind of cable to measure the center of the Snare to the diaphragm of one mic and reach over to the other side and it should be the same length. Remember, these are just guidelines, always defer to the judgment of your ears. The best way I found was to place the mic pretty close to the cymbal about 8-12 inches away. Move the Mic around to get the best spot. Use your ears to get the best set up for you. Placement and positioning of the Mic become critical. These are basic one mic set-ups that cover the entire kit. Leave us a comment. If you have enough free mics and inputs, mic up the most important cymbals — usually the high hat and the ride (though you should ask first, some drummers may feel their crash or china are more favored/essential to the track). Be sure to have the pad switch on your mic, or on the console/DAW interface, set to -10 dB because the cymbals will cause the microphones to have a high output. It was a little muddier or as the Drummer called it wishy-washy but I thought it sounded good. If it doesn’t sound good from the get go, it’s not going to sound good at the end. Kick Drum. There are 2 mic set-ups for each drum but is more elaborate and complicated. This can be done in a studio or your bedroom. Not always used by Drummers or Engineers in a studio a microphone that is dedicated to a Ride Cymbal can cut through and separate itself from the mix. There is no wrong or right way to experiment. This mic will add the attack and definition rather than the body. If using your overheads as cymbal mics, we need to check the cymbal balances. You can angle the mic towards the Bell from the 1/2 way spot on the cymbal that will give you a little bit of both worlds. Note: when placing drum mics, it’s important to remember that sticks and hands and cymbals will be falling very hard near them, so make sure your mics aren’t in the way of the player or a rogue ride cymbal. Kick (bass) drum. He has written many articles on Home Recording and Songwriting. Use a small diagram Condenser Mic that will be able to position close to the Hats and won’t interfere with a player’s abilities to go around the drums. mic positioning 13 correct ways to mic up a drum kit. Add some grit and make your Hats stand out and get lively. The microphone placement places a stereo image similar to where you want to go as far as the placement of the different components. A lesson from that placement, as with all things drum kit - you have to watch out for phase issues and make sure your ⌀'s don't get misplaced. Start with a picture of the Kick and Snare as a mental picture of the center sound that everything else works off of. The mic position is on the bottom as it would be on the top surface of the cymbal. There is a difference. What are the Best Mic Placements for a drum Cymbal? If possible, use small diaphragm condensers. Series 180 Small-diaphragm Cardioid Studio Condenser Microphone with Windscreen – Nickel Recommended by MyWaterEarth&Sky sold through Amazon. Keep the microphone close enough to the Ride Cymbal to minimize bleed from the other drums in the kit but not too close excessive low end that will build up. This positioning is designed to increase the sound rejection of the rest of the kit. Sometimes Even if a Ride Cymbal is miked from below the cymbal the main stereo-overhead-pair should remain a stereo-overhead pair for the most natural sound. Overhead Mic Placement-Left to Right You could start by simply centering the overhead mics over the drum kit using an X/Y or ORTF pair (note: my first choice for this task is a large diaphragm cardioid condenser so that mic type will be assumed throughout this post. It must make the sound suck, right? Try to find a small-diaphragm mic with a side-address that can capture more sound than a normal cardioid and more options for placements. Place the mic over the side of the cymbal, about an inch or two above, while making sure that it is away from other drum pieces.If the previous set-up results in too much “swishing” from the movement of the cymbals, use your ear to move the microphone either closer to the rim or the middle, and move the microphone higher or lower until you have the desired cymbal sound. The techniques: Microphones are the tools of Songwriters. Use condenser mics, preferably large diaphragm, though small diaphragm will work fine as well. The mic placement will look like this" You can now start to hear a stereo image of the kit as you will want to hear it in the mix. How about you. These mics may end up being mixed very low or cut out entirely in the track, but it’s still important to have them recorded, just in case. Experiment on the exact location and how high off the Cymbal to position the Mic. Use the technique of XY overheads, as discussed in the simple drum kit miking article. If a cymbal is too loud, move the mic away and vise versa if the cymbal is too soft. Use a Condenser Mic for all cymbals 6 ” off the surface 1/2 way between the Bell & the Edge Use Same Placement miking on the bottom Move Mic closer to Bell adds more ping Move Mic closer to Edge adds overtones Keep Overheads mics at equal distance with kick & snare at the center A few ft. above cymbals. Measure the distance (with measuring tape or a string) between the center of the snare and the mic above it, then place the second mic at a distance/height from the kit that maintains the same distance between the center of the snare and the second mic.

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