SP2. Drum Recording.
- 2xAKG 414 multi-directional microphones.
- 2xDPA 4090 omni-directional mics.
- 1x Sennheiser 602
- 2xShure SM57 uni-directional mics.
To record of the drums in my second Studio Project, I decided to use the two AKG 414’s to mic up the sound coming from the whole kit. Again, as before, I have chosen to the use the cardiod polar pattern so as to pick up the majority of the main signal source coming from the drums. The set-up for these was different from the first project in that one of the 414’s was positioned over the top of the Hi-Hat and the snare drum, pointing diagonally downwards across the kit, and the other was positioned on the opposite side of the drum kit, level with the floor tom, and facing horizontally across the kit towards the snare and Hi-Hat. Below is a photo of the 414 mic positions.
For this project, I felt the best way to record the kick drum was the same as the first studio project, by using the Sennheiser E602, because it brings out the best possible signal from the bottom end frequencies of the kick drum. As before, this mic was positioned just inside the whole in the front of the kick drum and directed towards the contact point between drum beater and skin as shown in the picture below.
Finally, the last item to record on the kit was the Snare drum. For this, I also re-used the technique that was implemented in the first studio project by using the two DPA 4090 omni-directional mics, because of their good high frequency pick-up. These mics were then attached to two separate mic stands so that one could be pointed directly towards the top skin of the snare drum and the other pointing towards the underside. (note: Unlike the first project, I realised before recording that I needed to tighten the tension rods on the underside of the snare in order to reduce rattling and get that extra snap). Below is a photo of the set-up used to record the snare drum.
As well as the mics in the loud room, I decided to leave the door of that room open so that I could record some ambient micing. For this I set up two SM57 mics in the chill room, using the X/Y technique, pointing towards the loud room door so that they could pick up a different flavour of the drums to blend into my recording. This will end up being played quite low in the mix so that is used purely to add a little extra depth to the drum sound. Below is a picture of the set-up of my two ambient mics.
This mic set-up was also used to record a small amount of percussion for this project in the form of a tambourine which was used as a shaker. This was recorded separately from the drum track on two separate audio tracks, both panned left and right. Below is a screen shot of the shaker tracks in the mixing window in Pro Tools as well as the recorded audio.
Once all of the mics were set up, I could patch them in from the loud room and the chill room, via their respective wall-boxes, through to the patch bay in the control room. I then created 7 mono audio tracks to record onto, each with its own label to correspond to what it is recording. Once this was done I could then begin recording my drums and percussion tracks. Below is a picture of the patch bay showing the 5 inputs from the loud room and the 2 from the chill room;
as well as a screen shot of the tracks they were recorded onto in the mixing window of Pro Tools;
and a screen shot of the recorded audio in the arrange window (note. This screen shot was taken after arrangement).