Summary of the content on the page No. 1
Micing the
Drum Set
Summary of the content on the page No. 2
INTRODUCTION: In the modern studio there is no more complex job for the engineer than micing the drum set. Musically, the drum set and bass form the rhythmic underpinning of any jazz, pop or rock musical performance. In the final mix, it can be in the back- ground, foreground or well out front, depending on the needs of the music. The job for the engineer at the tracking stage of album production is to store the necessary sonic elements, both stereo and mono, that will allow the mix engineer to
Summary of the content on the page No. 3
This, in short, is a description of a typical modern drum set. Figure 1 shows what it looks like from the viewpoint of the audience. Figure 1 In this White Paper we will discuss micing the drum set largely from the point of view of AKG’s highly regarded studio mics. We also want to introduce a new family of low-cost dynamic microphone models that are so good you’d think they were condensers! These are the models D440, D550 and D660; along with the D770, D880 and D112, they are ideal for the home
Summary of the content on the page No. 4
In the old days the AKG D12 dynamic was one of the mainstays of kick drum micing; today, the D112 is the modern version of that microphone. With its carefully engineered bass resonance cham- ber the D112 can handle any kick drum with ease. If you want to use a condenser with ultrawide low frequency capability, we suggest the C4000B, with its 0.5% THD overload point of 145 dB. Figure 2 shows the difference between a dynamic and a con- denser at or near the onset of distortion. The dynamic has mor
Summary of the content on the page No. 5
directions on the hi-hat and big tom), the sound will “open up” and will seem wider on the repro- duced stereo stage. Details here are shown in Figure 4. By the way, good drummers often know more about drum micing than many engineers think they do -- at least they know what has worked well for them in the past. Listen to them; they may be able to save you a lot of time. Putting it on Tape: Figure 4 So far we’ve only used four microphones (count- ing 2 on the kick drum), and if you are in a track
Summary of the content on the page No. 6
If you’re going straight to stereo you will also have to make some processing decisions for the drum tracks. Avoid any rever- beration; you probably won’t need it since there is enough overhand in the basic sound itself. A final point regarding recording levels: Mics that are close-in on a drum set will usually be sampling very high level sound fields. With most of the newer microphones you won’t have to use the internal microphone pad, but you should carefully trim down the console mic input se
Summary of the content on the page No. 7
Putting it on Tape: Our microphone count is now up to six, so if you are tracking, lay down one mic per tape track, again, without processing. In your monitor mix, or if you are making a direct-to-stereo recording, carefully pan the two new elements into the stereo soundstage at positions that match their actual positions in the drum set as seen from the front. Going for Broke -- Micing the Whole Set: Occasionally you will come across a job where the producer and drummer want everything to be mi
Summary of the content on the page No. 8
The setup, as we have described it, is shown in Global micing in a live studio, front view: Figure 8A and B. Do we have to stop here? Obviously not; we can add as many mics as we have remaining tracks. Another useful one to add would be a cardioid looking down on the head of the snare at a distance of about 8 to 10 inches -- but far enough back so as not to both- er the drummer. Can We Subgroup to Save Tape Tracks: Yes, if you proceed very carefully and think out the whole process. Remember, st
Summary of the content on the page No. 9
Global micing in a live studio, plan view: Figure 8B 9
Summary of the content on the page No. 10
The Microphones we Recommend: We will show you the basic response curves and directional data for the microphones recommended in this White Paper. They have all earned their merits in studios throughout the world. Good drumming and good micing! D440 D550 Frequency Range: 60Hz to 20kHz Frequency Range: 20Hz to 20kHz Polar Pattern: Cardioid Polar Pattern: Cardioid Sensitivity: 2.5mV/Pa (–52dBV re 1V/Pa) Sensitivity: 2.5mV/Pa (–52dBV re 1V/Pa) Equivalent Noise Level: 18dB-A (DIN45412) Equivalent No
Summary of the content on the page No. 11
D112 C418 Frequency Range: 20Hz to 17kHz Frequency Range: 50Hz to 20kHz Polar Pattern: cardioid Polar Pattern: hypercardioid Sensitivity: 1.8mV/Pa (–75dBV) Sensitivity: 2.5mV/Pa Equivalent Noise Level: 73dB (A) Equivalent Noise Level: 34dB-A (DIN45412) Electrical Impedance: 210Ω Electrical Impedance: 200Ω Recommended load impedance: ≥600Ω Recommended load impedance: ≥1,000Ω Maximum SPL for 0.5% THD: Outside Maximum SPL for 1% THD: 131dB measurement range Size: 5.9x2.8x4.5 in. (150x70x115mm) Ne
Summary of the content on the page No. 12
AKG Acoustics, U.S. • 914 Airpark Center Drive • Nashville • TN 37217 • Tel: (615) 620-3800 • Fax: (615) 620-3875 Visit our Web Site at www.akg.com
