Drum Set Mic Shootout

A few years ago, Sound on Sound  published an comprehensive drum set mic shootout with audio files.    They are very non-committal on choosing a favorite mic and the audio samples are only one hit each so to make realistic comparisons, you'll need to load them into a DAW and loop them.  Having this many samples available is incredibly useful for selecting a new mic, and the photos priceless.

 

Kick Drum mics: 

In the middle is the Electrovoice RE20, above it is the Neumann U47 FET, and below it the AKG D12. To the right is Sennheiser's MD421, while a Shure SM57 and an AKG D112

 

Five classic snare mics were compared over the top of the drum for the 'SnareMics' audio files (left, clockwise from top left): a Neumann KM84, a Shure SM57, an AKG C451EB, a Neumann KM86 and an AKG C414B-ULS. Above, under the snare were a further SM57 and C451EB.

 Here you can see the recording setup for the 'KickHeadOffMid' audio files, demonstrating the sounds of different mics and mic positions inside the kick drum. The five AKG D112s were at equal distances from the batter head, but in different lateral positions. (This same multi-D112 rig was used for all the other 'KickHeadOn' and 'KickHeadOff' files as well.) Above them, at the same distance from the batter head, were (left to right) an AKG D12, a Sennheiser MD421, and an AKG C414B-ULS.

The recording of the 'KickHeadOnOutside' audio files placed five AKG D112s at four inches from the kick drum's resonant head, and combined them with a Sennheiser MD421 and a Neumann KM84 miking the batter-head side. You can also see the positions of the two externally positioned U47 FETs recorded alongside all the 'KickHeadOn' and 'KickHeadOff' files, which were there to demonstrate the potential of a number of common dual-miking techniques.

Steve Orchard (Engineer) Mic Techniques

Steve Orchard has worked with Paul McCartney, Peter Gabriel, U2, Coldplay.  Steve uses ProTools and Logic at his home studio but travels all over the world.  For a great interview check out this link at recordproduction.com.

Interview tidbits:  For monitoring Steve uses Yamaha NS-10s and Dynaudio BM-15 that he takes with him for remote recording.

For miking drums:  Overheads TLM 170s behind the drummer, behind the drummer's head near the ears, but be careful of phase when mixing.   Be very careful of click bleed from the drummers headphones.  Likes a few hot tracks in the drum mix kit depth and crunchyness.   For the crunchy tracks he uses a Neumann U87 with a pad above the lip of the bass drum with 80db of gain on the mic pre amp, or a D112 above the kick pointing at the snare.  On this mic, watch the bleed from the cymbals and take out 4k if necessary.   Another kick drum technique (instead of using a Yamaha NS-10 sub), is to use a large clear water bottle from an office water cooler and put it in front of the kick and throw cheep condenser inside.  

Uses a Neumann FET 47 on the kick out slightly off axis (if possible, take the skin off and put a pillow in it.  Likes it better than a D112, thinks it's rather muted. 

Abbey Road Gobos

 Mercenary Audio, supplier of audio gear, has the fax from Neil Aldridge, (former Chief Tech at Abbey Road) to Fletcher (from Mercenary Audio) posted on their website.   I might just need to build one (or two.)

Link to Mercenary Audio's Abby Road Gobo Plans

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