How would YOU mic this kit?

[Executioner213]

Ok...when we record, I will be using 2 FP10's for a total of 16 input channels. We will only be using: 2 kicks, 3 toms, 2 floor toms, 1 snare (he only uses his side snare as a *table* to set shit on for now).

I'd like to put trigs on all 8 of the used drums, with a mic on the snare as well. This will take up 9 of the 16 channels. I'd also like to mic the ride/hat, taking up another 2 inputs. With 5 inputs left, I'd like to get a GOOD overhead span.

So...given this circumstance, how would YOU do it? Do you think I'm being completely retarded (I'm sure someone will think so)?

Also, how common is it to mic cymbal groups from under to put the toms/snare in the dead zone of a mic? Any input on this is greatly appreciated.

 

[JeffTD]

Probably left/center/right, in all honesty, or maybe a far left, inside left, inside right, far right setup.

 

[Damian B]

Yeah, left right and center works especially well on a double bass kit like this, since the snare is centered right in the middle of the two bass drums.

I've heard of people mic'ing ride from underneath to isolate the bell. It would work, you just might run into some phase issues and such. Try it out, experiment!!

 

[JeffTD]

Yeah, ride from underneath, and even try hats from underneath - I've only heard of this done a couple of times, but I've heard it works extremely well!

 

[Genius Gone Insane]

Well, if it was the kind of band I usually end up recording, I would put three mics L,C, and R on the cymbals, then tape triggers to the kicks, snare, and toms. Then I would use my special "Seven Channel Multidirectional Dynamic Microphone with Remote" (no cord necessary LOL) and place that puppy right behind the drummer's head.

"Of COURSE that one mic will pick up everything, guys...I use it all the time. I'm using the triggers JUST IN CASE you miss a drum hit here or there so it's easy to edit later."

How much set up time would this have saved me in the past had I known!!!

 

[Loren Littlejohn]

Hey man do me a favor out of curiosity. When you track this guy count how many times he hits the lowest floor time per song.

 

[robfromthedeep]

Yeah, ride from underneath, and even try hats from underneath - I've only heard of this done a couple of times, but I've heard it works extremely well!

In Flames did this on hats? I believe?

 

[colonel kurtz]

1 on each kick, snare top/bottom, 1 on each tom...there's 9 used up so far

throw in a spaced pair of OH's, and either a mono OH way up high or a room mic...there's 12

toss in a ride and hat, and you'll have 2 inputs left to either stick another mic in each kick, throw up a stereo pair of room mics, set up kick/snare triggers, or whatever the hell else

 

[Metaltastic]

I'd say just trigger the kicks - with all the amazing samples out these days (many from this forum), for metal I can't ever see why anyone would bother mic'ing the kicks (on the Enhanced CD section of Borknagar's Empiricism, where they have a studio diary, they've got this whole rack of drums and cymbals for Asgeir, and just a pair of kick trigger pads on the floor, it looked like the equivalent of a 'roided-out bodybuilder with a huge upper body and tiny little legs ). Even if you did want the sound of these particular drums, just set them up with mics in a separate session to make samples and use those!

 

[006]

I always mic the ride from underneath. Always have, always will. Using that track to reinforce what is already there in the OH mics in the vicinity. The trick is placing the mic correctly though, too close to the cymbal itself or too close to the area the drummer hits, or a combination of both, will end up with a really crappy sounding ride, as with overhead mics too.

~006

 

[Genius Gone Insane]

I'd say just trigger the kicks - with all the amazing samples out these days (many from this forum), for metal I can't ever see why anyone would bother mic'ing the kicks

Darkane is one metal band which has some dynamics in the kick that probably sound better mic'd than they would with triggers. Then again, their drummer is 1/1,000,000.

 

[lordcthulhu]

I'd say just trigger the kicks - with all the amazing samples out these days (many from this forum), for metal I can't ever see why anyone would bother mic'ing the kicks (on the Enhanced CD section of Borknagar's Empiricism, where they have a studio diary, they've got this whole rack of drums and cymbals for Asgeir, and just a pair of kick trigger pads on the floor, it looked like the equivalent of a 'roided-out bodybuilder with a huge upper body and tiny little legs ). Even if you did want the sound of these particular drums, just set them up with mics in a separate session to make samples and use those!

Haha, yeah Asgeir loves his TD-8s.

 

[joeymusicguy]

here's exactley what i would do.

1 trigger per drum
a snare mic in case dynamics get screwed in drumagog in certain sections
1 mic in the room, a little back from the kit that never gets touched (original reference listening track)

2 seperated overheads, left and right. 2 feet above main crashes pointing straight down and a little angle away from the snare.

1 mic under the ride. i just use 421's, call me dumb but they work for me.
1 mic over the splash/zibel combo, and splash next to it (about 8 - 10 inches away)
1 mic per cymbal of choice (play some tunes, find whats quiet, mic it up)

high pass 800 hz on all of that and go to down with replacement

 

[Executioner213]

Hey man do me a favor out of curiosity. When you track this guy count how many times he hits the lowest floor time per song.

I already know what you are getting at:

This guys kit, which I'm sure you can see his 2nd floor tom in the back beyond his ride in this pic....for all the tracks we did, he didn't hit that drum once. Wish I would have knew that ahead of time, I could have used that track for a center OH.

The drummer of topic (original picture) is more apt to use his last floor tom. All the time? No, who does?...I already started telling people who I am going to record to know ahead of time that I'm not interested in wasting channels on drums/cymbals that aren't being used because while a huge kit might look cool, it doesn't sound as cool.

 

[colonel kurtz]

oh man, that pic is just begging for Oz to come in here and drop a drummers = neanderthals joke...

 

[drew_drummer]

It saddens me to think that people would prefer to trigger samples than capture the audio of the real-drummer at work. It's just my opinion, but I'd rather hear a band than the production - production should be transparent, or used creatively.... not as a way to mask shitty musicians.

 

[drew_drummer]

Oh, and I'd mic the in's and outs of each kick, the top and bottom of the snare, have two mics for the rack toms, and one for the floor. Then two condenser overheads really high up in the room. Then if you've got enough channels left, I'd put two more condensers further out for some more ambience. I'd leave some bleed in there on the overheads and the toms, but not too much that compression later on will bring the bleed out.

 

[Metaltastic]

It saddens me to think that people would prefer to trigger samples than capture the audio of the real-drummer at work. It's just my opinion, but I'd rather hear a band than the production - production should be transparent, or used creatively.... not as a way to mask shitty musicians.

Oh no, it's thefyn!

 

[drew_drummer]

Well, must be an in-joke, I don't get the reference. I'd appreciate you not just laughing at mine or anyone else's expense though, if you have something to say, just say it.

*shrugs*

 

[Metaltastic]

Yes yes, I'm just ball-bustin', you do make a valid point, it just reminded me of the legacy of "thefyn" (a poster on here) in his crusade for more raw thrash productions and anti-studio magic in this thread (start at post 119, it's a good read )