Any distant stereo image i need can be achieved with pzm mics on the floor or walls or by using a figure 8 ribbon for overheads or a combination of all of that.
Mono room mic placement.
He acheived a little more of a wide modern sound that way.
Of course this can be avoided with careful placement and measurement.
Experiment by moving the mic farther away from and then closer to the kit.
Place two mics in an xy mid side or blumlein pattern far from the kit.
Working at the legendary sam phillips recording studio in memphis tn matt discusses the mono overhead mic he s using on the drums one of only three mics he s got on the kit.
Start the same rough distance from the snare but with the mic facing the space just above the kick.
Place two or more mics around the room as spaced pairs.
Joesi on july 3 2013 at 1 58 pm.
By moving our room mic closer to the floor we accentuate the proximity effect resulting in boosted lows.
I had been stuck on a mono room mic mainly because i like getting the vintage crushed room thing going on but another engineer tracked some drums in my place recently and worked out some good stereo micing in my room which i hadn t really messed with before.
This placement offers a different kind of natural representation of the kit this time favoring the kick over the snare.
A great way to start is the recorderman method or the glyn johns technique.
In fact i just tracked a song for our duelingmixes members with mono overhead and mono room mic.
To emphasize one part of the kit or another raise and lower the mic accordingly.
But if you ve got two mics to spare for a room setup combining a far away mid side configured pair with a mono overhead also makes for some very.
16th november 2006 3.
Matt ross spang episode 1 setting up the live room getting sounds.
Placed tight on the shells.
Any time you have microphones covering the same sound source from different distances you re likely to run into some phase problems as the offset in distance causes the sound to reach the microphones at different times.
Sometimes the simplest setup is the best one as you ll see in this excerpt from start to finish.
If your aim is simply to provide your entire mix with a bit more depth a mono room mic squashed through a fet compressor will do the job.
Ambient miking can really make your drum sound even when you re not blessed with the greatest of spaces.
If i m going stereo for drum overheads i ll likely stay mono for my room mic so that the overheads and room mic sounds don t step on one another s toes aurally too much in the mix.
Use your ear to taste.
When in doubt use your ears reevaluate your mic placement and make adjustments to get the results you want.
I enjoy a mono room mic anywhere from 6 20 feet back 4 10 feet high dead center on the drums.
