Oct31

Written by:Barry Rudolph
Tuesday, October 31, 2000 6:00 PM

Tom-Toms

The floor and rack toms are miked from the top only. I have miked the top and bottom of toms and I don't think it is worth it except for some strange and very tonal sounds. There is a point at which too many microphones around the kit will cause a loss rather than a gain. Furthermore, I find myself obsessing on too many internal drum balances and not focusing on just making a good drum recording. The principal question for tom mics is whether to use dynamics or condensers; both have advantages and disadvantages. Dynamics give you a "dry" and immediately present sound. You'll have better isolation from the rest of the kit making balancing easier. Dynamics are also better for loud drummers who hit hard. Condensers give you a fuller sound and are able to capture more of a drummer's subtleties. Condensers are great for light to medium drum volumes. Disadvantages include: more leakage, more expense and the risk of damage from being hit, larger and prone to distort more at louder levels.


Fig.7 shows a U-87 on a rack tom. Make sure to have the -10dB capsule pad switched in! I like this microphone especially for floor toms. Fig. 8 shows a pair of Audix ADX-90s on the high rack toms; these are electret condensers that attach to the drum rims with built-in shock mounts.

Microphone Choices

Dynamics include: Sennheiser's MD-421U, Audio-Technica's KP mics, Shure's SM57, Beta 52 and 57. Condensers are: Neumann's U-87s, KM184 and KM185, AKG C-451 or 452 (w/pads and swivels), and C-414TL11, and the Audix ADX-90 electrets.

Hi-Hat

The all important hi-hat should be miked even though it usually cuts through all the other microphones. Use a condenser for this bright sound that can handle good, hot levels. I try to get a mic close enough to be almost in the drummer's way and aim it right where he is striking the cymbals. I record this mic on a separate track and I sometime roll out low frequencies so that the snare drum's (right next door) low end is not exaggerated.

Microphone Choices

Use condensers exclusively! Some of my favorites are: AKG C-451 or C-452 with -10dB or -20dB pads depending on your mic pre, Neumann KM185 supercardioid or the original KM84, or try a Sony tie tack mic on the end of a stick.

Room Mics

Room mics can often save an otherwise miserable sounding drum kit and lackluster drummer! The opportunity for sonic treatment of a room mic is almost endless and I always record it on a separate track for post-processing. Heavy compression effects work best while the drummer is playing because the compressor is presented with the maximum dynamic range possible. The old vintage tube compressors are popular for this, but I have had good luck with a pair of Universal Audio's 1176LNs, LA Audio's Classic II Stereo compressor (these are both FET-based units) and a pair of Empirical Labs' Distressors. If you are short of tracks, record this mic on one and monitor it in the middle of the drum mix. Adding a little of this mic gives the overall kit a definite room tone without washing out the stereo image. Positioning the room mics is the most important decision: too close and it produces a "not-very-useful" tonality shift and too far away causes a distant sound like added reverb. In an unfamilar room, this process may be a bit tricky; so ask someone who should know where best to locate these mics.

Microphone Choice

Use any condenser that you would use for overheads or vocals. All my aforementioned will work fine and there is a lot of room for experimentation.

Barry Rudolph is an L.A.-based recording engineer.
Visit his Web site at: www.barryrudolph.com

© copyright 2000 by Barry Rudolph

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