Here’s a great technique that might come in handy. Place an R-series mic between the cymbals, pointing the front toward the ride cymbal and the back toward the crash cymbal. The mic should now be at a 90 degree angle to the floor. Ribbon mics are bi-directional, picking up to the front and to the
Sometimes it’s a good idea to close mic the ride cymbal, just in case you find you want to bring out some detail in the mix without affecting the overall drum balance. It’s better to print it and not use it than to need it and not have it. Ride cymbal miking on a session
R-series mics are wonderful on hi-hat and can handle all the hi-freq eq boost that you can throw at them. You can get all the sizzle you need without the sound getting grainy or harsh, or leave the track non-EQ’ed and have a warm, natural high hat. Place at a 45 degree angle and leave
Although ribbon mics sound great on snare drums, they’re a bit tricky to use without endangering the ribbon mic. Here are some tips: Place an R-series mic underneath the snare with the rear of the mic facing the snares and front of the mic facing the beater side of the kick drum. Remember to flip
For a modern sound, combine an R-121 with a dynamic mic. Angle the R-121 downward at 45 degrees, and position it 10-14 inches from the kick drum head. To protect the ribbon from blasts of air, be sure to position the mic away from any holes cut in the head. The 45 degree angle protects
R121s and R122s both sound great on toms! Position the mic at a 45 degree angle, pointing at the center of the drum, making sure to leave enough room for the drummer’s sticks. Here’s another Bruce Swedien setup with R-121’s on toms and high hat. Sean Beavan’s drums with R-121’s on toms and
It’s a great idea to use one or two mics in front of the kit; after all, that’s usually how we listen. Here are a couple of options:A single R-series mic 3-4ft. high about 4ft. in front of the kick. This will pick up the overall sound of the kit and can support your
Minimilist miking is good for some things, but most engineers today use a number of mics on the kit and at least a pair of mics in the room. Here we’ll look at miking the drums on a more individual basis and show you how a number of engineers use their Royers. Overheads A great
Many legendary drum recordings were made with few mics on the kit, capturing full kit sound and minimizing phase issues due to interaction between many close microphones. Legendary Beatles recordings had a Coles 4038 ribbon mic overhead, an AKG D19 on the snare and an AKG D20 in front of the kit – the classic
Ribbon microphones excel on drums. They have an extremely natural sounding pickup, capturing the power, tone and nuance of all components of the kit. One Royer stereo ribbon mic on drum overhead gives an amazing image of the kit, with fast transient response and the added advantage of handling EQ beautifully. Today, engineers are using