With not much experience, you should try to use as few mics as possible. Blues is all about the feel. You want to convey that with the overheads and a room mic. I would also use a FOK mic. Here's my suggestion. Everything I've heard is so close miced and compressed it has no dynamics and feeling.
Don't be that guy who produces blues that is way overcompressed. A blues set should sound natural and big. Lots of overhead picking up the full kit.
To me the blues sounded great in the 60's and 70's. SRV had a nice sound, but everybody else went the other way in the 80's. Now you will have an idea of what a blues kit should sound like. Make it sound good in the room, then hit record. Don't process the hell out of it. You should be able to get something decent if you know what you're listening for. Only my opinion, so take it for what its worth.
Last kit I mic'ed was a 4 piece. On kick: inside, fet 47 outside, subkick outside. Snare: 57 top, ksm bottom. KM84 hat, ksm ride. I don't plan on using every mic on mixdown, the royer and the blue are sort of "just in case" effect mics. I know there was an La2a and a couple Distressors in there somewhere, as well as an spl transient designer, plus 2 's.
Also a dbx and a vu. Crap, I forgot I had a Telefunken M in one of the iso booths with the door open squashed through the ssl channel strip. I think there's something wrong with me. One overhead Kick out front Snare maybe toms,but if the drummer is good.
If you're inexperienced, I'd definitely go with the 12 track list. It's better to have tracks you don't need than to get to the mix and wish you had something you didn't record. I tryed to post the following about 16 minutes ago This is your first time micing?
Just use one overhead mic! You have to crawl before you can walk! Most of the time, when you act like you know what your doing, you can learn and get payed. How many drum mic's do you really need? Do you have that many mixer channels to spare? Are you feeding your drummer the right mix?
Four microphones might be all you need. Today, let's look at exactly where those microphones should be places and listen to how it sounds. Drum miking is an art form you might be missing. My current stage setup includes an acoustic drum kit with eight microphones.
Mmmm, that sounds about right. The larger the room, the more control you want over the drums. What I mean by that statement is that in small rooms, you can get a lot of stage volume out of your drums without microphones.
The eight microphones are easy to fill up when you have microphones for the kick, snare, individual toms, cymbals, high-hat, and then the overhead microphones. This gives great control of the whole drum kick and allows me to emphasize different parts of the drum kit depending on the needs of the song. Glyn Johns is a recording artist who has worked with many of the big name bands from the classic rock era. He is even attributed to giving the Eagles their distinct sound.
You now have two overhead microphones that capture the full drum kit and you have control over the kick and snare. How does it sound? I found this unique video of someone playing with the Glyn Johns technique to a Paramore song, minus the drum tracks. What about the drummer? Pipe out an overhead to his monitor.
Then, as needed, bring in the kick and the snare. The key to making this work is in having the overheads capture the full kit sound. Download the FREE. Church Audio. Soundcheck Checklist. Run a massively more productive soundcheck with happier musicians, more time to mix, and no more stressing out over what to do next.
When both Bennie and Pistol were playing yep, a lot of the early Motown records had two drummers , there would be a total of four microphones for two drum sets and a percussionist. But by the early s most engineers had settled on a similar drum setup, with an individual mic on the kick, snare, and high hat; a mic for each tom; plus, a left and right overhead.
A kit with three toms would typically use eight microphones. Remember that multi-track recorders had a limited number of tracks. Even after and track tape machines were introduced in , the drum mics were usually bussed to a small number of tracks — if three tracks were used, engineers would put the snare mic on its own track, everything else on the other.
When the drums used four tracks, kick and snare had their own tracks, with everything else on two more tracks. When the drum mics were bussed together to a limited number of tracks on the tape machine, the engineer had to mix the drums when recording.
Panning, equalization, compression — those decisions had to be made when tracking, because it would be impossible to change the volume or the panning on one tom, for example, when all of the toms and overhead mics were on one channel. If the producer wanted reverb on the toms but not on the high hat , the reverb had to be added at the recording stage. As the years passed, the drum mic setup grew.
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