1/1/2023 0 Comments Phasing on a kick drum![]() This gives you a nice spread of the toms and cymbals, and the kick drum will be pretty close to the center of the image. The drum kit can be split right down the middle, as shown in Figure 1. Any condenser or ribbon mic is well suited for the job so use what you have or prefer!). You could start by simply centering the overhead mics over the drum kit using an X/Y or ORTF pair (note: my first choice for this task is a large diaphragm cardioid condenser so that mic type will be assumed throughout this post. You need to consider the drum kit in all three dimensions to exploit the available choices. To achieve a balance requires thinking about how the overheads will bisect the drum kit left to right, front to back, or top to bottom. I listen for a balance between the cymbals and drums that makes sense with what is happening acoustically. I spend some time listening to the kit in the room while trying to formulate the best approach to make the overheads clean, clear, and focused. I always start the process of getting a drum sound with the overhead mics. ![]() Overhead Placement Techniques and Considerations Even if you go so far as to filter all of the lower frequencies from your overheads (a common practice for some), there will still be noticeable interactions with the close mics. The overheads will cause the sound of your close-mics to change no matter what, so you might as well make sure that the change is for the better. If placed correctly, the overheads will capture the entire drum kit, in phase and with the same basic frequency balance and tone.īe aware that even if you plan to use a substantial amount of the close-mics in your drum mix, you still have to get the overhead placement right. Don't think of them as cymbal mics, but more as "everything" mics. The overheads are the unifying element in any drum sound. If you break it down (and you should), it's a wonder that you can ever get all of the mics to work together harmoniously. ![]() Each mic is reacting to every percussive event at a different time, from a different angle, with a different frequency response and slew rate, and with a different amount of ambience. ![]() It takes awareness and understanding of how the sound propagates from the drum and out through the room, and how the mics respond to that phenomenon. It's not as simple as placing a mic on each drum and two more above the kit, and bringing up the faders. There should be but one drum sound, not a collection of mics that are mixed together. I have always felt that the best drum sounds are achieved when there is a seamless marriage of the close-mics and a stereo pair of overhead mics. ![]() Mike Major, author of "Recording Drums: The Complete Guide," explores the best techniques for proper overhead miking of drums. Share this Using Stereo Overhead Miking Techniques to Supplement a Multi-Miked Drum Setup ![]()
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