Seeking Advice: Recording Drums Without Tons of Mics

[Synth80s]

Fellow Slutz,

While I've participated in many recording and mixing projects in the last few years, all the projects either involved drum tracks that we're recorded in other studios or drum loops/programming. Basically, I haven't had the opportunity to record a drum kit in quite a while so I don't have a lot of equipment geared toward that task (especially mics and clips/stands).

I'm going to be working with some friends on a low key, low budget recording session. They're a guitar, bass and drum trio -- very original! It works in my favor that the band is after a pretty straightforward sound (think early R.E.M., Gang of Four, Petty, etc.) and they want to keep it simple. I have a good space for recording them together using headphones. We plan to record the basic tracks live -- we'll probably record the bass direct, mic the guitar cabinet in another room and record scratch vocals on some tracks. The trick, then, is getting the drums right. I haven't seen the drummer's kit in a while, but I think it's fairly small (probably a 5 piece with hats and 2 or 3 cymbals). Thankfully he's a great drummer (which is 2/3 of the battle won!)

Aside from hiring out a room for the basic tracks (not in their budget), here are the ideas I can think of:

1) Buying one of those mic kits for drums (Sennheiser, Audix, CAD and maybe other make these) for $400-500, use a couple mics I have for overheads and make the best of it. Has anyone tried one of these kits?

2) Use a good stereo pair of condensors and try to capture a roomy sound without lots of direct mics. Maybe I can get away with overheads plus direct mics on the snare and bass drum. A good room and ample time spent working out the positioning of the drums and mics *might* be enough...

3) Just suck it up and just buy more good mics that I can re-use for future projects and/or sell (kind of the default slutty answer)

I should have enough pres and the track count for this project but I'm short on mics for all the drums. Here's what I have to use with ideas for each:

1 x SM57 (might use on the guitar cab or make available for snare)
1 x SM58 (will use for scratch vocals)
1 x AT4047 (might use on the guitar cab or as a room mic)
1 x Rode NT1K (might use as a room mic)
1 x Groove Tubes GT-33 (could use just about anywhere -- a versatile mic)
1 x Sennheiser e609 (will probably use on guitar cab with something else)
1 x MXL 603S (could use on hi-hats)
1 x MXL V67G (good for mellow vocals but not sure where it might fit in the live scenario, if at all)

My default position is not to say "I need more gear" to get results, but sometimes one has to have the basics to meet the needs of the project and I think I'm a few mics short for this project.

I'm open to suggestions and advice. If you need more info, ask!

Thanks in advance,
Synth80s

[TREMORS]

Keep in mind, I think a lot of the old Hendrix tracks only used like, 3 mics on drums.

How loud is his kick?
Does he bang the s**t out of the whole kit???
and, how much time do you have to just get sounds?
does it need major stereo spread?
It's just a five piece..how often does he hit the toms?

Depending on what you are going for, I think you could get by with some overheads, and a maybe a sm57 on the snare....and possibly something on the kick, though your mic cab doesnt seem to have a real good kick mic...
and a room mic....one of the mxl's
I know you dont want more gear, but another sm57 is cheap..if you need it for the guitar.

Worst case, have them play live, but use most of the mics for the kit, and have the guys overdub the rest..

I mean, I am (relatively) new at this, so feel free to disregard anything I say


good luck!

[mtstudi@pacbell]

You can get away with less mics, but the drummer needs to be a consistant hitter. I keep adding more mics, because I can change the sound of the drums during a song by muting mics. I have done projects when limited or in a hurry with 3 mics. 1 kik two ovrs. There isn't a lot of punch in it, so you gotta keep the production pretty stripped down.

www.bluethumbproductions.com

[PlugHead]

First off - good luck!

I hope the room you are recording in is good sounding, and capable of getting the type of sound you are after. More mics allow a bit more control when mixing the kit, but if the player plays his traps well-balanced, you're a step ahead of the game.

Many kits have been miced with 5 or less mics, often painting a very realistic, and musical portrait of the drums. However, one cannot underestimate the importance of having great mics. They'll make more of a difference than finding good pre's to complement them. Also having a great player is KEY to getting great drum sounds.

IME, I've rarely recorded kit with more than 5 mics: stereo overheads, snare, kick and room mic. IMO, if you're looking at getting 'great' drum sounds, not merely "OK", I'd suggest renting some supplementals: you don't have to own them, just for a few days.

If you are looking for an "explosive" sounding kit, you might want more mics than less, but - a well placed room mic is a great start. When the drummer is playing, find the absolute best 'sweet-spot' for the room mic - I prefer ribbons - Coles 4038 is tops, but a great quality neutral mic can work - a nice omni etc can do well too. This later can be multed/parallel compression/nuked etc. at mixdown to create a massive sounding kit.

IME, overheads often are 90% of the sound of the kit. A great pr of overheads paint a beautiful stereo picture.

This is the weak spot in your kit - I'd highly suggest getting a good stereo pr of SD condensers. At least get another MXL 603S for stereo! Neumann KM84's/184's are standard, as are 451's (originals: I can't say re: the re-issues) or Josephson C42's etc. If the room is nice, omni's often work well - TC30k's - even the cheap Beringer omni's @ about $40/pr sound good (tho noisy). Again, I dig ribbons like AEA's R-88: tons of detail, no harsh highs from cymbal smashers, and the toms have enough punch and fullness to get away without close micing them. This is the bread and butter of the kit - if you skimp on this, prepare to have a less than ideal drum sound.

Snare: use your 57 - if the drum is tuned right, and the player good, it should suffice.

Kick: it depends - D112 or 421, others like Audix, and so on. I often use a 421, but EV RE-20 is a great kick mic too.

Lots and lots of choices: it sounds like you don't want to invest in more gear, so - my advice would be to find/rent/borrow a GOOD pr of SD condensers for overheads, and possibly a kick mic like a 421/D112/RE-20. That should help out immensely for getting a good sound.

All the best with it - hope this helps,

[vernier]

Many of the best albums in the world were done with two or three mics, including one overhead, which works fine. If your room ambience isn't happening, get a sheet of acoustic foam, lay it near the set. And anything will work for a kick mic ..so,? ..problem over as I see it.


John Densmore (Doors), and Keith Moon's set (The Who).

[T_R_S]

That has nothing to do with todays production they did not have 200 track systems back then.
I just finished a project for a label I did not take any chances.
-2 days for set up and 23 mics for the drums I want options and not paint myself in corner. It's far too much work to get the drummer in the redo something.
When you do that and combine it with a good drummer the need for using samples goes away.

[tvanveen]

http://www.mercenary.com/3micdrumstuf.html

[Synth80s]

Originally Posted by PlugHead

First off - good luck!

Thank you! To answer your first part of the post, I'm fairly confident in the sound of the room (I can also use a different room if the first room doesn't quite work). I'll have to listen to the drummer again with a more critical ear but my last recollection is that he's quite balanced and steady -- I'm usually the first guy to call out a lousy drummer!

Originally Posted by PlugHead

Lots and lots of choices: it sounds like you don't want to invest in more gear, so - my advice would be to find/rent/borrow a GOOD pr of SD condensers for overheads, and possibly a kick mic like a 421/D112/RE-20. That should help out immensely for getting a good sound.

I thought about renting but decided against it because all the band members have day jobs so the project will probably span a few weeks of on and off recording. I'm willing to invest in a moderately priced stereo pair of condensors. I've honestly been avoiding the purchase of a proper kick drum for some time since it has such a limited application. Maybe I'll try a 421 since it's so flexible.

Call it sacrilege, but I've been very pleased with the MXL 603S thus far. I've used it on acoustic guitar and as a supplemental mic for recording guitar amp to get some extra "spank" I've been very pleased with both applications. It's certainly worth more than I paid for it! I could buy a second mic or a new pair, but I imagine they won't be too well matched.

Any other suggestions for a pair of overheads that won't break the bank (maybe up to $600/pair)? Here are some models I've run across that look interesting -- if anyone has used these mics, please jump in:

AKG C1000S
AKG C430
AT3031/3032 (cardioid/omni)
AT4041/4049a (cardioid/omni)
AT4051a
Sennheiser e914
Rode NT5

These also look interesting: http://www.mercenary.com/sto2microphone.html Anyone use these as overheads? They seem to be well suited for picking up a alot of room ambience which is part of my plan.

Originally Posted by PlugHead

All the best with it - hope this helps

Yep!

-Synth80s

[Synth80s]

Originally Posted by tvanveen

http://www.mercenary.com/3micdrumstuf.html

Good stuff -- thank you.

[Synth80s]

As a point of reference, here are some examples of the sounds I'm using for inspiration on this project:

1) My guess is that no one has heard it but I'd take anything off the Natural History's "Beat Beat Heartbeat" album. It's very loose and ambient without too much transient definition on the snare and toms. It sounds to me like a sparse mic job -- I don't hear any obvious direct mics. BTW, if you like the Gang of Four revival thing that's been coming around this decade, this is a great album worth seeking out!

2) XTC's "Generals and Majors" -- Also loose with a nice stereo image. The hi-hats sound distant and the snare is very flat and roomy. Toms are relatively soft. "Respectable Street" is in the same vein but with even more room ambience. I think this drum recording is hot shit.

3) Anything off Catharine Wheel's excellent "Adam And Eve" album (especially "Broken Nose"). Lots of room ambience but there's also an underlying sharp hit on most of the drums and cymbals. It sounds like they used lots of direct mics but mixed them in low. This album, when played loudly, always sounds like a real band in a real room to me. I love it.

4) The Church's "Reptile." Snare is more direct and bright (maybe 50% direct), the kick is round and full (not much beater click) and the cymbals and toms are soft and ambient. Sounds like it could be a 4-5 mic job.

5) Black Rebel Motorcycle Club's "Red Eyes And Tears"

Not that I'm looking or this sound on this project but two of the best examples of minimal drum mic recordings I know of are Talk Talk's last two masterpieces, "Spirit of Eden" and "Laughing Stock." Those two recordings are beautifully organic and full of ambience across the board but the snare and ride cymbal sounds take the cake.

-Synth80s

[wilcofan]

In my experience, few mics only works if the drummer can react on the spot to "mix" changes in his kit.

If you have one mic on a kit, tell your drummer his hat is too loud, he looks funny at you and says "huh?", then you need more mics. ;)

[Frost]

If we've gotten into buying something... I would consider an additional 4047 for OH duty so you have a pair, but if you are really on the cheap, then use a 4047 over one side and the NT 1000 over the other, add a snare (I like small diaphram condensers or 57s) and a kick mic, which you may have to buy. A 421 is a good choice, but I think the beyer m88 is the most versitile mic you can buy so I would consider obtaining one. I do mostly 4 mic drum kits, with an ortf over the drummers head with either earthworks sr77s or gefell UM 70 large diaphrams, add an M88 on kick and either an sm57 or shure ksm141 on snare.

On a recent session, a client wanted more mics on the drums. We talked about it and when recording a song, he said "see, I want more toms in that section". We asked the drummer to hit the toms harder during 'that section'. The song came out great and we kept the 4 mic technique. KISS keep it simple stupid.

Frost

[vernier]

If you have one mic on a kit, tell your drummer his hat is too loud, he looks funny at you and says "huh?", then you need more mics.

I'd never suggest anything to a drummer that might make him play less than his very best.

[nadsatrebel]

Originally Posted by Synth80s

Thank you! To answer your first part of the post, I'm fairly confident in the sound of the room (I can also use a different room if the first room doesn't quite work). I'll have to listen to the drummer again with a more critical ear but my last recollection is that he's quite balanced and steady -- I'm usually the first guy to call out a lousy drummer!



I thought about renting but decided against it because all the band members have day jobs so the project will probably span a few weeks of on and off recording. I'm willing to invest in a moderately priced stereo pair of condensors. I've honestly been avoiding the purchase of a proper kick drum for some time since it has such a limited application. Maybe I'll try a 421 since it's so flexible.

Call it sacrilege, but I've been very pleased with the MXL 603S thus far. I've used it on acoustic guitar and as a supplemental mic for recording guitar amp to get some extra "spank" I've been very pleased with both applications. It's certainly worth more than I paid for it! I could buy a second mic or a new pair, but I imagine they won't be too well matched.

Any other suggestions for a pair of overheads that won't break the bank (maybe up to $600/pair)? Here are some models I've run across that look interesting -- if anyone has used these mics, please jump in:

AKG C1000S
AKG C430
AT3031/3032 (cardioid/omni)
AT4041/4049a (cardioid/omni)
AT4051a
Sennheiser e914
Rode NT5

These also look interesting: http://www.mercenary.com/sto2microphone.html Anyone use these as overheads? They seem to be well suited for picking up a alot of room ambience which is part of my plan.



Yep!

-Synth80s

I'd stay away from the AKGs at this price. I think they suck.

I do like those AT mics and the nt5s.

Don't be afraid to invest in a nice bass drum/bass amp mic. You will find other uses for it/them. I like the Audix D6 or AKG's D112.

Sennheiser e609s are good on rack toms and guitar cabs. I like the 609 a bit better than the old 57 on either duty.

I admit I like the 57 on snare top.

[recky]

I did a quick demo session the other day for which I simply put up a U87 as a low overhead (just above and in front the drummer's forehead) and an EV RE15 inside the kick. The overhead mic went through a nice valve compressor to help balance the kit a bit. At first, the single crash cymbal was much too loud, but after directing the OH mic away from it slightly and moving the cymbal a bit higher up, things balanced out nicely. The track sounded pretty retro (think late 60s Beatles), mainly because of the compressor, but really nice!

In your case I'd go for the stereo room mic approach plus kick plus snare mics, though. I think, two large diaphragm condensors (or ribbons) would be necessary for a more organic sound (SDCs tend to sound somewhat clinical), set up around two to three metres in front of the kit, spaced out slightly wider than the kit and pointing at the snare. Add bass drum and snare mics (check phase). Done. With the same two room mics you could also try the Glyn Johns method.

Buying snare and bass drum mics wouldn't break the bank. While the SM57 isn't my go-to mic for snare (or anything for that matter....) it would be fine, and if you can find an old EV RE15 or RE16 for around 60 dollars you're laughing as far as bass drum is concerned. It's the room/OH pair of mics that won't come cheap, but it's a worthwhile expense for any recordist. You could try a mono recording of the drums and it wouldn't be a problem at all, but of course, you might want a stereo image of the drums.

As no one has mentioned it yet, let me stress that the quality of your preamps and recording medium is very important, too. It doesn't have to be Neve or API, but cheap mixing desk preamps will give a "cheap" sound.

I wouldn't recommend such a minimalist recording method for a heavy metal or modern rock band, but early REM was very simplistic and organic sounding indeed, so you should get pretty close using only very few mics.

Good luck,

Recky

[Rossman]

Some of the best drum sounds I have recorded were using 4 mic's.(no phase problems). Good drummers have good dynamics. If the're friends spend a little extra time. Track a song, do a ruff mix and see where you are and then fix what needs to be fixed. C1000s is ..............I second the cheap AKG's. Try the Octava mk012's, there not bad if you can find two that are close.

[PlugHead]

Originally Posted by Synth80s

Thank you! To answer your first part of the post, I'm fairly confident in the sound of the room (I can also use a different room if the first room doesn't quite work). I'll have to listen to the drummer again with a more critical ear but my last recollection is that he's quite balanced and steady -- I'm usually the first guy to call out a lousy drummer!



I thought about renting but decided against it because all the band members have day jobs so the project will probably span a few weeks of on and off recording. I'm willing to invest in a moderately priced stereo pair of condensors. I've honestly been avoiding the purchase of a proper kick drum for some time since it has such a limited application. Maybe I'll try a 421 since it's so flexible.

Call it sacrilege, but I've been very pleased with the MXL 603S thus far. I've used it on acoustic guitar and as a supplemental mic for recording guitar amp to get some extra "spank" I've been very pleased with both applications. It's certainly worth more than I paid for it! I could buy a second mic or a new pair, but I imagine they won't be too well matched.

Any other suggestions for a pair of overheads that won't break the bank (maybe up to $600/pair)? Here are some models I've run across that look interesting -- if anyone has used these mics, please jump in:

AKG C1000S
AKG C430
AT3031/3032 (cardioid/omni)
AT4041/4049a (cardioid/omni)
AT4051a
Sennheiser e914
Rode NT5

These also look interesting: http://www.mercenary.com/sto2microphone.html Anyone use these as overheads? They seem to be well suited for picking up a alot of room ambience which is part of my plan.



Yep!

-Synth80s

OK. A couple more suggestions:

1) get another MXL 603S to make a stereo pr. for overheads. Not alot of money for this option.

2) look at getting the Avenson STO's - they are good omni's, tho noisy by critical standards: if you can live with a bit of hiss in quiet passages. The other option is the Behringer's (ECM2000 I think?!) omni's - real cheap, and about the same sound as the Avenson's without the price tag. Build quality is questionable tho, and they might end up being 'disposable'...

3) find a GOOD pr of Oktava 012's: QC is an issue, but if you can land a pr that is closely matched, and solidly built, I'd choose them. You also have the option of later adding other capsules for different patterns - even RED make capsules for the Oktava 012's now, so they are not a dead end mic.

Having a good kick drum mic is a must: 421's are pretty inexpensive, and prolly can be had for a couple of hundred. Other option is a sleeper mic like a CAD E-100: they rock on kick, and are around $150 used. Many other options and opinions, but - a 421 is not a one trick pony - they get used on everything from kick to toms, to voice, to gtr cab, to horns etc. etc. etc - something like this won't go unused in your kit.

Again - best with it!

[nadsatrebel]

Originally Posted by PlugHead

OK. A couple more suggestions:

1) get another MXL 603S to make a stereo pr. for overheads. Not alot of money for this option.

2) look at getting the Avenson STO's - they are good omni's, tho noisy by critical standards: if you can live with a bit of hiss in quiet passages. The other option is the Behringer's (ECM2000 I think?!) omni's - real cheap, and about the same sound as the Avenson's without the price tag. Build quality is questionable tho, and they might end up being 'disposable'...

3) find a GOOD pr of Oktava 012's: QC is an issue, but if you can land a pr that is closely matched, and solidly built, I'd choose them. You also have the option of later adding other capsules for different patterns - even RED make capsules for the Oktava 012's now, so they are not a dead end mic.

Having a good kick drum mic is a must: 421's are pretty inexpensive, and prolly can be had for a couple of hundred. Other option is a sleeper mic like a CAD E-100: they rock on kick, and are around $150 used. Many other options and opinions, but - a 421 is not a one trick pony - they get used on everything from kick to toms, to voice, to gtr cab, to horns etc. etc. etc - something like this won't go unused in your kit.

Again - best with it!

The Oktavas are nice if you can find them. At least I seem to be having trouble finding them these days.

Dunno anything about Avenson. Screw Behringer.

I am curious to hear the MXL sdcs.

421s are excellent mics. Our city's very own mayor has them on his podium.

[axisdreamer]

I was doing drumset with three mic's for a little while, One B&O BM-3 Ribbon mic ($450.00) on overhead, 57 on snare, Shure Beta 52 ($200.00) on kick. I had a loud Ludwig Maple drumset and put it in a corner of the room to make the set even louder.The toms came out nice and fat .The B&O mic has an RCA ribbon in it and sounds very fat and big and round in the mid and bottom.You can find them on ebay sometimes but they seem to be going up in price as more people are finding out about them.


Stace

[Ernest Buckley]

I`v captured great drum sounds with 3 mics!

If you want to buy more mics, go for it but you don`t need them.

It sounds like you need a good meat and potato drum sound so I would go with an Audix D6 on the kick and you can go nuts with two OHs.

Two OHs placed perfectly will capture a good stereo spread of the toms and the snare.

Good luck and if you have the chance, post the results.

[freedy]

Mike Brown took my Sony mini-cassette recorder, set it on the floor in front of the kick drum, put a tape in it and put it in Record, went out of the 1/8" mono earplug output through various radio shack adapters until we got it up to a 1/4" phone plug, then ran that into channel one of 001 and used it as a "lo fi tape compression" color mic. Maybe try that from across the room also.

[Open Sky]

Originally Posted by Synth80s

Not that I'm looking or this sound on this project but two of the best examples of minimal drum mic recordings I know of are Talk Talk's last two masterpieces, "Spirit of Eden" and "Laughing Stock." Those two recordings are beautifully organic and full of ambience across the board but the snare and ride cymbal sounds take the cake.

-Synth80s

You can say THAT again. All I remember learning about that drumset micing was that they used some very distant mics and spent FOREVER finding the right spot for them. In my book, those records are pure genius--especially Laughing Stock.

[Synth80s]

First, thanks to everyone for the collective input. Believe me when I say I've read everything 5 times!

Here's the current plan (without specifying EQ and compressor choices):

Snare > SM57 > ISA428
Kick > ATM25 > ISA 428
Overhead Left > MXL 603S > RNP
Overhead Right > MXL 603S > RNP
Room (Mono) > AT4047 > ISA 428

Beyond that, I'll leave it to the drummer, mic positioning and my ears. I have about half the pieces I need and I'm tracking the rest down over the next week or so.

-Synth80s

[Synth80s]

Originally Posted by Open Sky

You can say THAT again. All I remember learning about that drumset micing was that they used some very distant mics and spent FOREVER finding the right spot for them. In my book, those records are pure genius--especially Laughing Stock.

If you don't have it already, I highly recommend Mark Hollis' self-titled solo album from 1998. He picked up right where Talk Talk left off with Laughing Stock. If I remember correctly, the entire album was recorded using two mics in a room (probably not SM57s ). The result is excellent.

-Synth80s

[vernier]

There are countless great albums with minimally mic'd drums ...John Bonham for one.


Mick Tucker of THE SWEET.

[stevep]

Synth80s .Here's the current plan (without specifying EQ and compressor choices):

Snare > SM57 > ISA428
Kick > ATM25 > ISA 428
Overhead Left > MXL 603S > RNP
Overhead Right > MXL 603S > RNP
Room (Mono) > AT4047 > ISA 428

The setup you have looks good !



You could even chuck the room mic.

Keep the 57 on the snare

I would have to recommend the EV RE20 for the kick,
You can use that mic for many other things later.

Sen. 421 would be a 2nd choice also. (get the RE20 first)

ATM 33s are good for Overheads and room, under 100$ used (160 new i think)


And another 57 or 2 would help


I like to keep it simple when micing drums


Have fun,, and do get the RE 20




steve

[Open Sky]

Originally Posted by Synth80s

If you don't have it already, I highly recommend Mark Hollis' self-titled solo album from 1998. He picked up right where Talk Talk left off with Laughing Stock. If I remember correctly, the entire album was recorded using two mics in a room (probably not SM57s ). The result is excellent.

-Synth80s

Yeah, I have that one, but need to give it another listen to remind myself what it's all about. Being a drummer, I remember being a bit disappointed back when I bought it that it didn't have the innovative Talk Talk drum thing happening throughout. I never got too swept up in that album because of that. But I need to try again. Thanks for the reminder!

[absrec]

Originally Posted by stevep

I would have to recommend the EV RE20 for the kick,
You can use that mic for many other things later.

For that matter, if you're gonna' spend that kinda cake, get a Shure SM7(a,b, whatever). The SM7, I've come to find over the years, is my favorite kick mic. And, oddly enough, is one of my favorite vocal mics. Something to think about.

[(DC)]

Hey Synth80s!

It seems like the focus of this recording should be on getting a good drum sound, which is hard to do.

I have been in a very similar situation, and have been able to get a great little drum sound using two of the mics you have on hand.

1 x SM57 - Use for snare
1 x AT4047 - Use for single overhead

The issue now is the kick drum. First thing I would recommend is look at the collection of mics you got there.

Then, get a friend to drop some kick drum for you as you record with the different mics. Look for the mics that accentuate the bass sound well, but don't over exaggerate them. (Remember, EQ is your friend )

Now, there should be two things you should look at before you buy a new mic for that kick drum.

1. If you don't like any of the other mics you got there, which is something that might very well happen.
2. You would rather buy a microphone that is more "tried & true", then spend your time testing all of your mics.

I am sure that your fellow GS could easily recommend some great kick drum mics. Personally, I have used the Shure Beta58 and I think it sounds great. It isn't perfect, but it gets the job done (again... EQ).

The result I acheived was less of a "In Your Face" drums, but more of a relaxed sound... (Possibly this is what you attempt to acheive?). Mic placement will be very key for what you are trying to acheive here. Remember to place the overhead closer to the instruments that you are trying to accentuate within the drums. Listen to a couple REM tracks and write down what instruments are louder and closer to you, then place your mics accordingly.

In this setup, I realized that the 4047 was planned to be used for your guitar. If you plan on recording all at the same time, remember that the SM58 will also work great for that occasion. If using the 4047 is necessary, you might want to think about recording your guitar tracks later... or simply using a different overhead.

Well, good luck to you and upload a .wav later for us to hear!

Peace

[mltamisin]

Jeff Ocheltree put out a cool DVD on drums and it goes through some minimal mic'ing techniques used with Bonham's kit. From what I recall there were some old C12's involved. Seems like they used really high end mic's. I've gotten by with KM184's but I lowered them a little more than usual.....it sounded pretty damn good. Kinda vintage sounding. Worked well with the song.