YT: How To Record Drums w/2 Mics

[Genius Gone Insane]

Probably not so great for metal, but I thought it was interesting:
http://www.youtube.com/watch?v=IiFOD1EeKhQ&eurl=http%3A%2F%2Fwww%2Erecordbetteraudio%2Ecom%2Fdrums%2Fdrums%2Ehtml

 

[botus99]

If I only had 2 mics I'd rather have one overhead and then have one facing the front of the kit to pick up more kick. Yeah it's definately not the most METAL of recording setups but for a quick demo or something, I guess it could work

 

[everybody's x]

thats always how I set up my OH's

 

[2012]

The recorderman method gives a great image of the kit. Try it sometime, even if you're spot micing everything. It looks weird, but it sounds right, and the kick & snare are nicely in phase.

If I plan to do kick replacement and hi-pass the overheads, I go for ORTF.

 

[Genius Gone Insane]

Gearslutz discussion on it

 

[everybody's x]

man, see that's a perfect example of over-analyzing a simple thing and making it more difficult than it ought to be.
phase issues are inherent in multiple micing, there's no getting around it. It either sounds good or it doesn't no pythagoran equations necessary.
set them up in mono listen (don't look) for phase problems correct them and hit record.

 

[Where She Wept]

Did anyone notice how bad the floor shook? (and everthing else, including the mics?)

 

[Loren Littlejohn]

He had a bass drum mic.

But that is an interesting aproach to doing it. I am gonna have to give it a try sometime.

 

[Suicide_As_Alibi]

It was more about showing to set it up than the actual results methinks, so the kick is kinda irrelevant.

I mixed a CD with the drums recorded like this - the drums sounded okay, but sections with lots of cymbals and sections with hardly any sounded completely different. Once the cymbals kicked in the snare went from big and ringy to short and boxy. It was fine per section, but for dynamic songs I didn't like it - not sure how much of it was down to the recording though; I only mixed it.

Steve

 

[lepersmeesa]

That is the glyns john technique.

 

[2012]

The Recorderman method puts the kick and snare equidistant to both overhead mics and centers them creating a pretty damn good stereo image of the kit.

The Glynn Johns method puts the snare equidistant to both overheads, but not the kick. However, it does include a spot mic on the kick which makes centering the kick in the mix easy enough.

They have a spot mic on the kick in the video, but you can have spot mics on every drum and still use the recorderman placement for your overheads. Using spot mics doesn't change the relationship of the overheads.

Both methods see the kit from the same sort of perspective, but in the Recorderman method, the 2nd mic would be over the drummer's right shoulder. In the Glynn Johns method, the 2nd mic is behind and just above the floor tom.

 

[everybody's x]

yeah I have my 2nd mic peeking over the floor tom pointed at the hi hats