We used the Glyn Johns method on the drums for this project and it really worked well. The various methods of miking a drum kit have been covered in Sound On Sound on many occasions, so I'll stick to the basics here. You can then make a test recording and move the mic if necessary. You want to hear a nice blend of snare, toms, and cymbals all in one mic. The point of this second round was simply to give the Sigmas some context, so I did not attempt to track every mic in the locker. This will sometimes be labeled gain reduction or will just be a meter that seems to work backwards, going down or showing negative values on each drum hit. This will reduce the level of snare drum and cymbals getting into the gate's side-chain detector circuits.
They are very important for begginers like me. The bottom snare drum mic will capture a lot of the wire sound of the snares and give you independant mix control of that sonic element. The better the room sounds though, the better your recordings will sound. There may also be a separate hi-hat mic, and in studios that have a lot of space, there may be a further stereo pair out in the room to pick up the room ambience. As a company, we have a single objective: making you, our customer, happy.
As far as my detective work goes, he used lots of different set up to achieve the required sound so just goes to show that a bit of experimentation is key, but the 2 equidistant split level overheads are a good start point. Typically a light compression can be used just to even out the dynamics a bit. The 64 step and pattern sequencing is also to take note of, giving us essentially more capability than we can have at our fingertips. Reduction level is not adjusted directly. Further damping can be applied using small pads of fabric or tissue held in place with Gaffa tape, or you can opt for one of the more modern solutions that take the form of tacky gel pads that stick to the drum heads. Traditional rock producers swear by recording to analogue tape, as the soft saturation helps create a dense and punchy drum sound.
It basically provides the most features an analog drum machine can give you, and more. It is also quite easy to accentuate or boost specific elements like a hihat or the kick drum. Anyway, for a small Drumset very suitable. They also work extremely well with compression. If you are working to a click and your sequencer has an audio quantise feature, this may get you out of trouble, but don't bet on it: I often find that manual edits work best. The Glyn Johns Drum Recording Method.
Choosing one is more a matter of color selection. My top 3 from this shootout are the Vin-Jets, Samar Audio, and Shiny Box. My preferred strategy these days is to record in a good-sounding room if I can. We are building a community and you can be a part of it! The pair is really interesting. I just bought a stereo x-y condenser. One of my favorite records of all time.
If you need more attack, some 3-4kHz boost may help, but where there is insufficient high end there to boost, I have occasionally resorted to using harmonic exciter plug-ins to synthesize a little more high end. Where this is not possible, I'll use whatever acoustic treatment I can improvise to keep room reflections out of the overhead mics. We recommend grabbing the if you want a smaller, more affordable falls just above a hundred bucks, double-check to make sure drum machine that provides you with some classical analog sounds. But remember to phase-reverse one of the snare mics, otherwise phase cancellation will result in a thin and wimpy sound. Often you'll only need to add this to the overhead mics to get a natural sound, but for a big rock snare you may want to add some additional plate-style reverb to the snare.
They seems to hear more of the room than do the Royers. Graham Cochrane has a great article about this technique over at his site therecordinrevolution. Just dial in the amount of processing you want and you're done! Instead of a usual dynamic tool like a classical compressor, Drum Leveler has a transient and beat detection and analyses the incoming audio signal in real-time and processes the signal with downward and upward compression or expansion and gating. The faster the release time, the more audible pumping is likely to be when you apply a lot of gain reduction, but there's no hard and fast rule here as much depends on the sound you want and on the amount of gain reduction being applied. Via Flickr Who Is Glyn Johns? Always with customised added value for musicians. What if we had angled the ribbon mikes outward in our our drum overhead shootout? This feature works using a threshold setting above which detected notes are deemed as real, so the better the separation you have between drums, the more accurate the result is likely to be.
While bringing out the snare wires can help the drum sound very exciting, you will have to be careful not to overdo it. The plugin can automatically share your presets and download presets of other users from our servers. This approach can work well, as long as you are careful to adjust the exciter's tune control so that what is added compliments the sound you already have. Most musical instruments are relatively straightforward to record in isolation, but the drum kit is actually an ensemble of instruments, and so can present more of a challenge. If that doesn't do the trick, consider gentle overall top-end enhancement, again using either a conventional harmonic exciter or something like Noveltech's Character over the whole drum mix. This drum kit was tracked in the foyer of a house using the traditional Glyn Johns method. With the snare, place your mic a couple of inches above the rim angled across the snare.
On the right side, there is the Emphasis button. I record all of our shows and practice when we have them. As usual we wanted the cleanest, most pure signal path possible so that the color differences of the microphones would come through. If you tune the drums too high or too low, the sound will be compromised. In our opinion however, these pieces of music gear are still alive and well. Unlike the other close drum mics, the kick mic seldom gives good results if positioned too close to the batter head the one being hit by the beater and a common starting point is to put the mic mid-way between the centre and the edge of the drum shell, protruding into the shell by just a few inches.