TBird
Wholenote
Posts: 298
Formerly Known As: greg1948
|
Post by TBird on Sept 26, 2020 6:48:32 GMT -5
I'm using my Zoom R16 to record band practice sessions. I have a kick drum mic (Shure), SM57 on the snare and a large diaphragm condenser overhead to pick up the cymbals. The problem is that the overhead mic picks up too much snare and hardly any of the cymbals. The HH's and ride cymbals are almost inaudible. The only cymbal that cuts through is a splash. I need to use another mic, so I'm going to try a cheap, small diaphragm condenser over the cymbals. If that doesn't work, maybe I need to invest in a higher quality mic.
What may also be a factor is the cymbals themselves. They are cheapos and pretty dark sounding, so maybe that's part of the problem. The kit and cymbals belong to the bassist, who's house we practice at, but I want the drummer to bring his own Paiste cymbals next time. Maybe that will give me more to work with.
|
|
|
|
Post by ninworks on Sept 26, 2020 10:28:07 GMT -5
Try moving the overhead mic more in front of the kit keeping the cymbal(s) between the snare and the mic. Picture the cymbals as being a baffle of sorts between the mic and snare.
|
|
|
|
Post by Peegoo 🏁 on Sept 26, 2020 10:59:08 GMT -5
A mix of close and overhead is a good choice.
|
|
Grizbear-NJ
Wholenote
"I'll do the BEATING around here"
Posts: 217
Age: 71
|
Post by Grizbear-NJ on Sept 26, 2020 13:00:42 GMT -5
TBird: That's a common problem with recording a drum-set. It is also a major "on-going" discussion I have with live sound and recording audio engineers, the discussions and opinions are infinite. I learn something new everyday; and I honestly can't keep up with the technology. In your situation, you have to work with what you have available.
You were on point regarding the quality of the cymbals; that's a major factor. I have, and use a collection of more than a dozen different cymbals, (diameter and weight) when playing different live venues; I constantly interchange them depending on the venue and quality of the sound system. My own personal cymbal brand choice is Zildjian; I have always had successful results with them. You will hear cymbal descriptions like: ride cymbal, primary crash, secondary crash, splash, and specialty. (Use your imagination)
Recording presents some of the same problems. Most recording engineers can tell you the frequency range of the mic's you would need for different drums and cymbals. I was amazed with the variety of mic's available; Omni-Directional, Uni-Directional, Condenser Mic's, PZM's (Pressure Zone Mic's); you name them.
Regarding the snare and hi-hat. Luckily, the frequency range of both are within the same spectrum. Normally, (and I use that term loosely) one mic will address that job. I always call it a "shotgun" mic (drummers slang) I believe it is a "Uni-Directional, Condenser mic" (please don't hold me to that, I'm a drummer not an audio engineer). I can tell you, that particular set-up is effective if you require more definition of your snare & hi-hat. Again, your "toms" are of a different frequency range, and your bass drum is a different range; meaning different types of mic's will be needed. Overhead mic's work, depending on what you are looking for. The major problem experienced with them is "definition" (of individual sounds), overheads can get "muddy" if you don't have the right frequency range.
|
|
|
|
Post by Auf Kiltre on Sept 26, 2020 18:07:30 GMT -5
Drums are so finicky, so much dependent on what you're going for. I remember one tedious session decades ago, I swear 2 full days of trying different mics. What ended up working the best was a mic on the kick and 2 Sennheiser 421's overhead.
|
|
Grizbear-NJ
Wholenote
"I'll do the BEATING around here"
Posts: 217
Age: 71
|
Post by Grizbear-NJ on Nov 1, 2020 23:28:20 GMT -5
Just had an interesting conversation with a drummer friend of mine. He was in a studio situation rehearsing, and was having problems with his cymbals "over ringing" when recorded. His overall balance was OK, the only sound problem was just the cymbal ringing. One of the studio guys solved the problem with "Moon Gel".
For those of you who are not familiar with the product, it's a variation of "Silly Putty"; it was originally developed to eliminate buzz on drum heads, and was normally placed on the batter head some where near the mic. It is slightly adhesive, reusable, and cost effective (cheap).
My friends band is into slightly more technically advanced music like Rush, Emerson-Lake & Palmer, ELO, and the like; where precision is key. He played the before and after recordings for me, and I could definitely hear the difference.
Full disclosure: I never played in that particular studio, so I don't know what type of equipment or mic's were utilized.
|
|
