# how would you record drums using these mics?



## vadsy (Dec 2, 2010)

you don't have to use them all. I'm just looking to record some jams.

2x SM57
vintage MD 421
vintage MD 421-2
current looking 421 (any and all markings are gone)
2x Unidyne 545
AKG 112 (pretty reasonable to assume bass drum with this one)
AKG C414
Rode NTK
Senn 609
SM7B

Some are mine and some on loan, some for drums and some probably not. I've never recorded drums but with a new pre interface coming tomorrow I'd like to give this a shot.

please send some suggestions on mics and placement


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## Hammerhands (Dec 19, 2016)

I was just watching a video the other day...He has some of those mics.


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## Paul M (Mar 27, 2015)

What is the drum room like? How good do the drums sound on their own? What style of music? Is there excellent isolation, or will there be leakage across the tracks?
I'm a fan of using as few mics as possible. If the drummer is good, a stereo pair above the kit, and something low and in front to catch the kick drum can be more than enough.


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## Mooh (Mar 7, 2007)

What Paul M said.


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## sambonee (Dec 20, 2007)

You mention jams, I like 2-4 tracks for jams. 

ideally: 2 condenser mic. Equal distance from Centre of snare (36-40” ideally) one directly above, one pointing horizontally At the same spot ( off by the ride cymbal). Kick 421, and snare Sm57.
Voila. 
These basement sessions were done with that same setup (different mic choices). 

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https://soundcloud.com/the-hurley-jam%2Fsets%2Fwuhan-con-sessions


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## Merlin (Feb 23, 2009)

I usually do a Glyn Johns mic setup for recording drums.


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## Hammerhands (Dec 19, 2016)

Pixies. Individual mics, omni mics, a big umbrella.


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## Grab n Go (May 1, 2013)

+1 on the Glyn Johns setup.

The only issue I see is that you don't have two condensers of the same make. That makes it tougher to do the Glyn Johns thing.

With what you have, I would use 4 mics:

AKG 414 & Rode NTK set to mid-side (video below). The 414 should have a figure 8 option and I think the NTK is cardioid.

57 on the snare

D112 or 421 on kick

The mid-side captures the entire kit. The others are spot mics to give you a bit more detail on the kick & snare.

The mid-side will pick up alot of the room, so make sure the guitar amps are placed where you want them. Bass tends to go everywhere, so bass amp placement isn't quite as critical. If there's a line out from the bass amp or DI option, that's also helpful.

Mid-side technique on drums:





For what it's worth, if I'm just trying to capture jam ideas, then I usually set up a 2 track recorder and leave it alone. The results are usually decent enough and I can focus on playing rather than wearing a sound engineer hat.


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## Merlin (Feb 23, 2009)

Grab n Go said:


> +1 on the Glyn Johns setup.
> 
> The only issue I see is that you don't have two condensers of the same make. That makes it tougher to do the Glyn Johns thing.
> 
> ...


You could also deploy the MS setup above the kit. For live recordings where I don't have the isolation, or a great room sound, I'll do a stereo XY pair above the set.


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## vadsy (Dec 2, 2010)

thanks for the suggestions.

I've seen the Glyn method employed a few times while looking up ideas on the tube. I agree the mismatched condensers would be a fault for that to work. I got 'use two 57's overhead instead, equal distance form the snare and the 112 on the bass' from someone else. I'd still like to try both.

I haven't had a chance to sit down yet this weekend in front of the drums to get started but it looks like I'll add the snare mic, I wasn't planning on it at first. Overhead, side, kick and snare is the plan.

The room has some acoustic treatment, will be adding a little more, couple/few upper corner traps. Bass will be in the room but also split at a DI to interface. Wet/Dry guitar amps will be in the corner isolated to some degree but will be in the room mics for sure.

Who mics a kick at the sound hole vs on the pedal/mallet side?


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## Grab n Go (May 1, 2013)

vadsy said:


> Who mics a kick at the sound hole vs on the pedal/mallet side?


I've done both and then flipped the phase on one of the mics. I did it for a drummer who was keen on getting lots of attack on the kick. More of a luxury then a necessity. Plus, it's kind of in the way...


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## vadsy (Dec 2, 2010)

Grab n Go said:


> I've done both and then flipped the phase on one of the mics. I did it for a drummer who was keen on getting lots of attack on the kick. More of a luxury then a necessity. Plus, it's kind of in the way...


just curious. someone on another forum mentioned it. I've never been done it but my plan is just to be out front.

Thanks for the MS video. I've not seen it but had it described to me once where I nodded along unknowingly to a very talkative sound guy. now I see... 
also, the phase trick is very cool, he didn't mention that


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## vadsy (Dec 2, 2010)

finally got around to it at the end of the weekend. I kept it simple. 3 mics, 57 on the snare, 112 on the kick and 414 overhead. Put a pad on the kick and overhead. Still would like to try out a few different mics and placement but this made me happy, I think I'm 75% there for my needs. A different stand for the kick possibly, something to get further inside and maybe the NTK as an over the shoulder opposite the 414. I'm excited to have my drummer stop in this week. Need to dampen the toms a bit more, got gel on top and some tape on the bottom but they ring out a bit much still, ideas?


































keep in mind this isn't pro and I'm no drummer, just looking to record my dad jams and put a tune together with my kids.
the toms need fixing.

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https://soundcloud.com/tom-jones2012%2Fdrums


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## Jim DaddyO (Mar 20, 2009)

It actually sounds pretty good. Putting the bass drum mic further inside will give it more "snap" and less "boom" as you get closer to the beater. Distance is experimental. You're correct in needing a bit more dampening. I would try it with the 57 overhead also just as an experiment. I used to put a couple of Neuman small condenser mics overhead and one on the bass drum and it worked pretty good. Also try the 414 on the bass drum instead, probably with a pretty tight cardiod pattern (second last setting on the pic I see, right before the 8 pattern). Also, if you do the 414 on bass and the 112 overhead, moving the 57 away and around for some room sound may make it sound larger.

Mostly just random thoughts.


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## vadsy (Dec 2, 2010)

I still want to try two 57's overhead, equal distance from the snare and all.

if you use the 414 on the bass would you put it in front of the hole or move it to the left just out front of the resonant head? 
you'd use the 112 overhead?


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## Jim DaddyO (Mar 20, 2009)

vadsy said:


> if you use the 414 on the bass would you put it in front of the hole or move it to the left just out front of the resonant head?
> you'd use the 112 overhead?


Yes, yes, and yes.

Rule #1 is....there are no rules.
Rule #2 is....listen with your ears, not your eyes.

Ya gotta be up to trying anything. Most standard techniques were discovered by mucking around and accident. That's how we got mics in the back of open backed guitar cabinets recorded out of phase, and everything else, like placing them down the hallway from the drum room.

Good call on another 57. Great mics, that's why they are so ubiquitous. Every studio has cases of 57's and 58's, and no one raises any alarm when they get pulled out.


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## Guitar101 (Jan 19, 2011)

Sounds pretty good. Just thinking that a few studio pics I've seen have plexiglass panels in the front of the kit. No idea what it does though.


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## Jim DaddyO (Mar 20, 2009)

Guitar101 said:


> I've seen have plexiglass panels in the front of the kit.


Mostly to stop bleed through when there are other live mics in the room when the band is playing together.


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## vadsy (Dec 2, 2010)

I have some plexiglas but I'll probably add one or two of those homemade Roxul panels in between a few mics/instruments. again just looking to record jams better than iPhones


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## vadsy (Dec 2, 2010)

tweaked the toms a bit. added a second overhead, mismatched but whatever. recorded a jam tonight, no bass player sadly but I liked it either way. here is a minute clip. need to mix and EQ still. forgive the general noodling and wankin


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https://soundcloud.com/tom-jones2012%2Fdrums-and-guitar-project-2020-09-10-1022-pm


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## Jim DaddyO (Mar 20, 2009)

vadsy said:


> need to mix and EQ still


Yet still coming out pretty good.


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