What's some suggestions on mic positions angles for overheads and maybe some spot dynamics to catch mostly cymbals, avoiding as much kit sound as possible? I've been looking for some tips but most people seem to be wanting the overheads to grab the full sound.
Kit miking to catch ONLY cymbals?
- Thread starter electricred
- Start date
JeffTD
Senhor Testiculo
SDC's, mic in as small groups as possible, relatively close to cymbals, pointed outwards (as in /\ but more exaggerated), filter low end heavily.
Nimvi
Member
Altough it will be almost impossible to completely exclude the kit in the overheads, the first thing that comes to my mind is to mic the cymbals in a line that blocks out the most obstrusive parts. Since that will probably be the snare, I would suggest placing cymbals in the line between the mic and the snare, blocking it out a bit.
You could also go for very directional spot micing (from the bottom or pointing outward), but that will create a more individual sound per cymbal instead of the nice wash that overhead mics usually provide.
Another option is to record the cymbal performance as a different take than the other drums, depending on what you are going for. May sound TOO disconnected though, and probably messes with the vibes of the drummer.
And if you still have a snare or something else poking out too much for your tastes after the recording, you could sidechain comp the overhead track with the signal from the offending element. Fast attack and natural release. That should take care of that pokey bastard.
You could also go for very directional spot micing (from the bottom or pointing outward), but that will create a more individual sound per cymbal instead of the nice wash that overhead mics usually provide.
Another option is to record the cymbal performance as a different take than the other drums, depending on what you are going for. May sound TOO disconnected though, and probably messes with the vibes of the drummer.
And if you still have a snare or something else poking out too much for your tastes after the recording, you could sidechain comp the overhead track with the signal from the offending element. Fast attack and natural release. That should take care of that pokey bastard.
Sloan
Sounds like shit!
^I remember reading/hearing that most of the Queens of the Stone Age stuff had cymbals tracked separately than shells or something.
Tommy Evans
Member
^^^underheads. This method is usually used in live situations to save space. But can be used in a studio situation with acceptable results when experimented with.
Only way you are going to not get shells in the OH mics is to record cymbals separately from the shells.
I'll try the "under heads" idea. I read a handful of discussions on here and GS, seems plausible... thanks, and I'm still open to any ideas. I've not recorded a kit like this before, and will be doing a location recording soon and ideas to try and play around with will be useful.
Nimvi
Member
What is your goal with this btw? Are you going for something distinct sounding, or do you just want to minimize problems come mixtime?
Didn't know about QotSA using that split recording technique btw! Album sounds great to me, so I guess that technique's worth a try.
Didn't know about QotSA using that split recording technique btw! Album sounds great to me, so I guess that technique's worth a try.
Genius Gone Insane
http://www.¯\(°_o)/¯.com
Honestly you may want to try using 57s on each cymbal, facing backwards as AllanD suggested. They won't sound great but that will get you the most isolation. And it might even sound good.
I did this once... We used the muffling pads on all the drums. So the drummer just played straight out but the drums made so little sound we could gate them.
Darren "Jenk" Jenkins
Producer. Engineer. Mixer
Point the mics away from the snare drum and fairly close to the cymbals. Use filters in the mix to help eliminate the rest of the kit.
Uros
Sonic Incision
Nimvi
Member
staying true to your signature I see!
Uros
Sonic Incision
amarshism
Member
Found the thread, good info.
http://www.ultimatemetal.com/forum/...cing-cymbals-underhead-instead-overheads.html
http://www.ultimatemetal.com/forum/...cing-cymbals-underhead-instead-overheads.html
Khariot
Khariot
firstly, would like to say ive been reading this section of the forum for years but never posted. first post, HELLOOOOOO.
im glad someone asked this question and AllanD for finding that particular thread, which was the one i was thinking of...
i was thinking underside miking for the next Khariot record, including having a blumlein config (low in the mix) for the overall glue... but mainly to keep the kit acoustic, only triggering kicks, getting depth/clarity/seperation, for my drummer goes from jazzy to extreme metal and everything in between.
my drummers kit is massive. 6 fkn toms and quite a few cymbals. also having the blumlein to catch all the bells and mini splashes, cuz single close miking them would be ridiculous.
anybody have any tried-and-tested mics for this undermiking configuration? condenser or dynamics (would 57s work?)? also those clip-on underside cymbal mics referred to in the other thread, anyone found anything more COST efficient... especially having that many cymbals.
im glad someone asked this question and AllanD for finding that particular thread, which was the one i was thinking of...
i was thinking underside miking for the next Khariot record, including having a blumlein config (low in the mix) for the overall glue... but mainly to keep the kit acoustic, only triggering kicks, getting depth/clarity/seperation, for my drummer goes from jazzy to extreme metal and everything in between.
my drummers kit is massive. 6 fkn toms and quite a few cymbals. also having the blumlein to catch all the bells and mini splashes, cuz single close miking them would be ridiculous.
anybody have any tried-and-tested mics for this undermiking configuration? condenser or dynamics (would 57s work?)? also those clip-on underside cymbal mics referred to in the other thread, anyone found anything more COST efficient... especially having that many cymbals.
