There are several common drum miking techniques used in both live sound and studio recording to capture the sound of a drum set. Each technique offers a different perspective and balance of the drum kit’s various elements. Here are some of the most common drum miking techniques:
1. Close Miking:
Close miking involves placing microphones in close proximity to specific drums or cymbals to capture their individual sounds. This technique allows for precise control over each drum’s sound and is commonly used in studio recordings.
- Kick Drum: Use a dynamic or condenser microphone placed just inside the kick drum’s sound hole or slightly in front of the drumhead. Point it toward the beater for attack or the center for a fuller sound.
- Snare Drum: A dynamic microphone like the Shure SM57 is often placed a few inches above the snare, aimed at the center of the drumhead. This captures the snare’s crack and body.
- Tom-Toms: Position dynamic microphones (e.g., Sennheiser MD 421 or Audix D4) a few inches above the drumheads, pointing towards the center of each drum to capture their individual sounds.
2. Overhead Miking:
Overhead miking is crucial for capturing the overall sound of the drum kit, including cymbals. It provides a sense of space and stereo imaging.
- Spaced Pair: This technique involves using two overhead microphones, such as condenser microphones, placed above the kit in an XY or ORTF configuration. These microphones capture the entire kit in stereo.
- Glyn Johns Technique: This technique uses two overhead microphones—one above the snare and another above the floor tom. The microphones are positioned at specific angles and distances to create a balanced stereo image.
- Mono Overhead: Using a single overhead microphone can simplify the setup and provide a mono representation of the kit. This is a common approach in live sound reinforcement.
3. Room Miking:
Room miking captures the ambient sound and reverb of the room, adding depth and space to the drum sound.
- Spaced Pair: Place two room microphones at various locations in the recording room to capture the sound from different angles.
- Ambient Miking: A single microphone can be positioned in the room to capture the overall sound and reverb. A condenser microphone is often used for this purpose.
4. Drum Kit Miking:
This technique aims to capture the drum kit as a whole by using a combination of close miking and overhead or room miking.
- Drum Kit Microphones: Use a combination of close mics on individual drums and overhead or room mics to capture both the nuances of each drum and the overall kit sound.
- Subkick Microphone: A subkick is a specialized microphone designed to capture the low-frequency resonance of the kick drum. It is often used in addition to the standard kick drum microphone.
5. Underhead Miking:
This technique involves placing microphones beneath the drum kit to capture the sound from underneath the drumheads. It is commonly used for an unconventional and unique drum sound.
- Snare Drum: A microphone is placed beneath the snare drum to capture the snares’ buzz and a unique resonance.
- Floor Tom: Similar to the snare, a microphone can be placed beneath the floor tom to capture a different tonal quality.
6. Close and Distant Miking:
Combining close miking with distant room miking provides a balanced sound that captures both the direct sound of the drums and the natural ambiance of the room.
- Close Mics: Position microphones close to each drum and cymbal to capture their specific sound characteristics.
- Room Mics: Use room microphones to capture the natural reverb and ambiance of the room. These are typically placed at a distance from the kit.
Selecting the right drum miking technique depends on the desired sound, the specific music genre, the recording environment, and the available microphones. Experimenting with different techniques and microphone placements allows you to achieve a unique and balanced drum sound that complements your music.