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In Reply to: The Shure SM81 and mic'ing drums posted by quantumeffect on January 8, 2005 at 20:31:36:
There's really no good way to do this except the one about recording the drum set in different takes. A similar approach would be to use an electronic snare so it didn;t make an acoustic sound. Nominally, however, there's no good way. I've worked in many good studios and never seen your request as a goal. Instead, the goal is to make the bleed work for you rather than against you. For example, you can roll off low end of the overheads and use the close mics to get all your lows. That will aviod a lot of the snare's low end coloration in the overheads. Yet another is to assume the overheads are the entire sound and use just a kick mic with two overheads sensitive enought to pick up everything. Often, if a drum kit is sitting on a carpet the snare will sound too dead because the sound coming off the bottom won't reflect off the floor. So sit it on a sheet of plywood. You have to ask yourself why a good sounding drum kit sounds bad to those little ears we call microphones. John Bonham just used a kick mic and a pair of overheads (legend has it). Most of the engineers I know have gone simple: less drum micing tricks. Put 'em in a nice room, get a couple of nice mics, and record what you hear. There's a lot of reasons for this (less mics, less noise, less phase-chaos, less tracks to mix etc.). Somewhat ironically, this kind of simplicity is what great engineers learn to do, but it can be the saving grace of beginners. I don't know very many "old" engineers who like micing guitars in stereo, for example. The principle cause of bad sounding bleed other than a bad room is off-axis coloration in cheap cardiod mics. Sometimes its actually better to use an omni mic, allowing more bleed, but reducing off axis coloration. Anyway, my advice is: go with the Force. :). t.
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- less is more - tmcconnell 17:57:10 01/22/05 (0)
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