First mix, please give all comments

[MarkofLavender]

I know this needs some work but would appreciate any and all comments.
At least it is a real band

[drakewire]

good stuff.... Drums were the weakest length... Here you go free info....This is what this site is about not just say give it more punch...BTW I do have a real band too.. :)~


I believe in miking the drumkit in a very comprehensive manor. Simply put, I like to use a lot of mics. I would rather have too many mics and not use them all, than find out later that I missed something that cant be fixed. The problem is that using multiple mics can create all kinds of phase problems that will wreak havoc on your drum sound. This style of recording is only recommended for those with lots of experience. Instead, I will start with a more basic set-up and then I will add the other stuff in as we move along.The four most important parts of the kit that you will be miking are: Kick, snare, overhead L, overhead R. These four sources are the heart of the drumkit, and they are what everyone will be hearing the most. I certainly think the toms, hi-hat and room are important, but if you cover these four bases, the rest may need less attention than you thought.

Of those four. I place the most significance on the overheads. The reason being is that if you get the overheads right, the rest will fall into place much easier. I have always preferred to use a large diaphragm tube mic for my overheads. They seem to take a good picture of the whole kit while keeping the cymbals from getting too brittle sounding. Usually, whatever the most expensive pair of mics in the studio happens to be, that's what I want over the kit. Many people use ribbon mics for overheads. I think they sound very natural, which is attractive, but they never have the hi-frequency energy that I want to hear. I would rather choose a mic that gets close without too much EQ. I have always felt that the ribbons require too much Hi Freq boost. But hey, that's just me. You may have great success with them. Whatever works for you is perfectly fine.

Overhead placement is especially critical. I spend a bunch if time trying to find the right spot for the mics. I like to hear the cymbals well, of course, but I also pay special attention to the sound of the snare, the stereo image, the panning on the toms, the balance of the ambient vs. up-close sound, and the overall balance of the kit in the OH's. This can all be achieved through proper mic placement. Try different locations for the OH mics in terms of height, angle and proximity to each other. Don't be afraid to go in front of the kit, or over the drummers head (physically not figuratively!) if necessary. I have had success with both of these methods. I have found that if you get the drumkit balanced correctly in the OH's your close mics are not as critical. The other mics are certainly important, but the OH's help to glue it all together. I also think its important to make sure that the snare is in the center of the OH image. This can really cause problems later if it has a bias to one side.

The choice of the mic pre-amp at this stage can greatly enhance things as well. If I am using a tube mic then I prefer a transformerless mic pre. If it's a solid state mic then I may want a tube mic pre. Sometimes a transformer coupled mic pre adds something that is missing from the sound of the mic. The bottom line is that you should find some time to listen to the effects a mic pre will have on the sound of a mic. I am always amazed at how differently the mics perform while driving different mic pres. This is worth some experimentation. Never say never when it comes to mic pres. Some will surprise you, and others will disappoint you. Don't believe everything you read about mic pres either (unless, of course, you read it here!). Some people arrive at their choices for less than scientific reasons. Always listen for yourself and choose what you deem to be the best choice in the given situation.

So now that our OH's are sounding good, lets work on the kick drum. The kick is a special case in the midst of the drum kit. First, it is generally tuned very low, and does not have a real prominent fundamental pitch. Second, it is generally miked from the inside. Third, it is played with a beater not a stick. Because of all these factors, there are many application-specific offerings from mic manufacturers to deal with kick drums. Everyone has their preferences and most of them will work just fine. The more important decision you are faced with, is where to put the mic.

Hopefully the drummer has a hole in his front kick head. Guys who don't, have probably never played a show through a real PA system in their lives. In live sound, it is very important to have the isolation that can only be achieved with the mic inside the drum. I think it helps a lot in the studio as well. I feel it is best to have the drummer cut the hole in the front head, whether he has done it in the past or not. This is modern music after all. If it were a Jazz gig it may not be necessary.

I know that some of you are thinking, "......John Bonham didn't cut a hole in his bass drum head...." Yeah well you give me a drummer like John Bonham and I wont complain about it at all!

The problem is most guys don't play the kit that way, so it doesn't always work out. You will find yourself doing extraordinary amounts of HF/HMF EQ boost to get the kick drum to stick out, say, in a busy guitar-oriented track. I would rather have it at the mic than have to create that necessary presence electronically. The added EQ on an outside kick mic will change the sound of your snare, OHs, toms and room mics. It works out sometimes, but only when everything else is ideal, i.e. great drummer, great drums, excellent sonic balance in the kit etc. More often than not it usually just creates situations that force more compromise on the quality of the drum sound.

When miking the kick from inside, there are a few things that are constant. The further inside the drum you go, the more attack you will get. Further out, you get more low-end and less attack. You should experiment with the distance of the mic inside the drum. Listen to the track with everything up. If you are straining to hear the kick drum, then move it in a bit and listen again. If you hear it fine, but feel no low-end support, back the mic out a bit. You can point the mic at the beater, at the shell and all points in between. Each will give you a different tonal characteristic. All of these positions will have a huge effect on the sound and how it fits together with everything else. Take the time to experiment. You will be glad that you spent that extra 20 minutes when it comes time to mix.

As far as recording, while there is no sure fire way creative use of mic's will give an excellent bone of a recording, regardless of what equipment you use. When I track drums I often seperate bass, snare high and low, toms, cymbols, tom's, and the high hat with an overhead and room mic, all seperate and use panning to create my own stereo image and groove. That way when i lay a bass track I can isolate the bass drum and keep the feel and groove dead center. with a slight (and I do mean slight delay to make the bass come alive with smooth bass notes rather than punch.
The guitars and other instruments get layered on top with left and right panning unless its acoustic guitar, then I believe the best way is to record one far enough left and then record another take far enough right that it creates a rich sounding acoustic track. Of course the key is to leave enough headroom to allow for a vocal track to be placed right in the middle is that the bass, vocals, and bass drum are all dead center. While you dont have to do this, it usually will give you the best results.

[AnAverageJoe]

Originally Posted by drakewire

good stuff.... Drums were the weakest length... Here you go free info....This is what this site is about not just say give it more punch...BTW I do have a real band too.. :)~


I believe in miking the drumkit in a very comprehensive manor. Simply put, I like to use a lot of mics. I would rather have too many mics and not use them all, than find out later that I missed something that cant be fixed. The problem is that using multiple mics can create all kinds of phase problems that will wreak havoc on your drum sound. This style of recording is only recommended for those with lots of experience. Instead, I will start with a more basic set-up and then I will add the other stuff in as we move along.The four most important parts of the kit that you will be miking are: Kick, snare, overhead L, overhead R. These four sources are the heart of the drumkit, and they are what everyone will be hearing the most. I certainly think the toms, hi-hat and room are important, but if you cover these four bases, the rest may need less attention than you thought.

Of those four. I place the most significance on the overheads. The reason being is that if you get the overheads right, the rest will fall into place much easier. I have always preferred to use a large diaphragm tube mic for my overheads. They seem to take a good picture of the whole kit while keeping the cymbals from getting too brittle sounding. Usually, whatever the most expensive pair of mics in the studio happens to be, that's what I want over the kit. Many people use ribbon mics for overheads. I think they sound very natural, which is attractive, but they never have the hi-frequency energy that I want to hear. I would rather choose a mic that gets close without too much EQ. I have always felt that the ribbons require too much Hi Freq boost. But hey, that's just me. You may have great success with them. Whatever works for you is perfectly fine.

Overhead placement is especially critical. I spend a bunch if time trying to find the right spot for the mics. I like to hear the cymbals well, of course, but I also pay special attention to the sound of the snare, the stereo image, the panning on the toms, the balance of the ambient vs. up-close sound, and the overall balance of the kit in the OH's. This can all be achieved through proper mic placement. Try different locations for the OH mics in terms of height, angle and proximity to each other. Don't be afraid to go in front of the kit, or over the drummers head (physically not figuratively!) if necessary. I have had success with both of these methods. I have found that if you get the drumkit balanced correctly in the OH's your close mics are not as critical. The other mics are certainly important, but the OH's help to glue it all together. I also think its important to make sure that the snare is in the center of the OH image. This can really cause problems later if it has a bias to one side.

The choice of the mic pre-amp at this stage can greatly enhance things as well. If I am using a tube mic then I prefer a transformerless mic pre. If it's a solid state mic then I may want a tube mic pre. Sometimes a transformer coupled mic pre adds something that is missing from the sound of the mic. The bottom line is that you should find some time to listen to the effects a mic pre will have on the sound of a mic. I am always amazed at how differently the mics perform while driving different mic pres. This is worth some experimentation. Never say never when it comes to mic pres. Some will surprise you, and others will disappoint you. Don't believe everything you read about mic pres either (unless, of course, you read it here!). Some people arrive at their choices for less than scientific reasons. Always listen for yourself and choose what you deem to be the best choice in the given situation.

So now that our OH's are sounding good, lets work on the kick drum. The kick is a special case in the midst of the drum kit. First, it is generally tuned very low, and does not have a real prominent fundamental pitch. Second, it is generally miked from the inside. Third, it is played with a beater not a stick. Because of all these factors, there are many application-specific offerings from mic manufacturers to deal with kick drums. Everyone has their preferences and most of them will work just fine. The more important decision you are faced with, is where to put the mic.

Hopefully the drummer has a hole in his front kick head. Guys who don't, have probably never played a show through a real PA system in their lives. In live sound, it is very important to have the isolation that can only be achieved with the mic inside the drum. I think it helps a lot in the studio as well. I feel it is best to have the drummer cut the hole in the front head, whether he has done it in the past or not. This is modern music after all. If it were a Jazz gig it may not be necessary.

I know that some of you are thinking, "......John Bonham didn't cut a hole in his bass drum head...." Yeah well you give me a drummer like John Bonham and I wont complain about it at all!

The problem is most guys don't play the kit that way, so it doesn't always work out. You will find yourself doing extraordinary amounts of HF/HMF EQ boost to get the kick drum to stick out, say, in a busy guitar-oriented track. I would rather have it at the mic than have to create that necessary presence electronically. The added EQ on an outside kick mic will change the sound of your snare, OHs, toms and room mics. It works out sometimes, but only when everything else is ideal, i.e. great drummer, great drums, excellent sonic balance in the kit etc. More often than not it usually just creates situations that force more compromise on the quality of the drum sound.

When miking the kick from inside, there are a few things that are constant. The further inside the drum you go, the more attack you will get. Further out, you get more low-end and less attack. You should experiment with the distance of the mic inside the drum. Listen to the track with everything up. If you are straining to hear the kick drum, then move it in a bit and listen again. If you hear it fine, but feel no low-end support, back the mic out a bit. You can point the mic at the beater, at the shell and all points in between. Each will give you a different tonal characteristic. All of these positions will have a huge effect on the sound and how it fits together with everything else. Take the time to experiment. You will be glad that you spent that extra 20 minutes when it comes time to mix.

As far as recording, while there is no sure fire way creative use of mic's will give an excellent bone of a recording, regardless of what equipment you use. When I track drums I often seperate bass, snare high and low, toms, cymbols, tom's, and the high hat with an overhead and room mic, all seperate and use panning to create my own stereo image and groove. That way when i lay a bass track I can isolate the bass drum and keep the feel and groove dead center. with a slight (and I do mean slight delay to make the bass come alive with smooth bass notes rather than punch.
The guitars and other instruments get layered on top with left and right panning unless its acoustic guitar, then I believe the best way is to record one far enough left and then record another take far enough right that it creates a rich sounding acoustic track. Of course the key is to leave enough headroom to allow for a vocal track to be placed right in the middle is that the bass, vocals, and bass drum are all dead center. While you dont have to do this, it usually will give you the best results.

WOW I've Learned something too, Thanks

[Bdiggy]

Originally Posted by drakewire

good stuff.... Drums were the weakest length... Here you go free info....This is what this site is about not just say give it more punch...BTW I do have a real band too.. :)~


I believe in miking the drumkit in a very comprehensive manor. Simply put, I like to use a lot of mics. I would rather have too many mics and not use them all, than find out later that I missed something that cant be fixed. The problem is that using multiple mics can create all kinds of phase problems that will wreak havoc on your drum sound. This style of recording is only recommended for those with lots of experience. Instead, I will start with a more basic set-up and then I will add the other stuff in as we move along.The four most important parts of the kit that you will be miking are: Kick, snare, overhead L, overhead R. These four sources are the heart of the drumkit, and they are what everyone will be hearing the most. I certainly think the toms, hi-hat and room are important, but if you cover these four bases, the rest may need less attention than you thought.

Of those four. I place the most significance on the overheads. The reason being is that if you get the overheads right, the rest will fall into place much easier. I have always preferred to use a large diaphragm tube mic for my overheads. They seem to take a good picture of the whole kit while keeping the cymbals from getting too brittle sounding. Usually, whatever the most expensive pair of mics in the studio happens to be, that's what I want over the kit. Many people use ribbon mics for overheads. I think they sound very natural, which is attractive, but they never have the hi-frequency energy that I want to hear. I would rather choose a mic that gets close without too much EQ. I have always felt that the ribbons require too much Hi Freq boost. But hey, that's just me. You may have great success with them. Whatever works for you is perfectly fine.

Overhead placement is especially critical. I spend a bunch if time trying to find the right spot for the mics. I like to hear the cymbals well, of course, but I also pay special attention to the sound of the snare, the stereo image, the panning on the toms, the balance of the ambient vs. up-close sound, and the overall balance of the kit in the OH's. This can all be achieved through proper mic placement. Try different locations for the OH mics in terms of height, angle and proximity to each other. Don't be afraid to go in front of the kit, or over the drummers head (physically not figuratively!) if necessary. I have had success with both of these methods. I have found that if you get the drumkit balanced correctly in the OH's your close mics are not as critical. The other mics are certainly important, but the OH's help to glue it all together. I also think its important to make sure that the snare is in the center of the OH image. This can really cause problems later if it has a bias to one side.

The choice of the mic pre-amp at this stage can greatly enhance things as well. If I am using a tube mic then I prefer a transformerless mic pre. If it's a solid state mic then I may want a tube mic pre. Sometimes a transformer coupled mic pre adds something that is missing from the sound of the mic. The bottom line is that you should find some time to listen to the effects a mic pre will have on the sound of a mic. I am always amazed at how differently the mics perform while driving different mic pres. This is worth some experimentation. Never say never when it comes to mic pres. Some will surprise you, and others will disappoint you. Don't believe everything you read about mic pres either (unless, of course, you read it here!). Some people arrive at their choices for less than scientific reasons. Always listen for yourself and choose what you deem to be the best choice in the given situation.

So now that our OH's are sounding good, lets work on the kick drum. The kick is a special case in the midst of the drum kit. First, it is generally tuned very low, and does not have a real prominent fundamental pitch. Second, it is generally miked from the inside. Third, it is played with a beater not a stick. Because of all these factors, there are many application-specific offerings from mic manufacturers to deal with kick drums. Everyone has their preferences and most of them will work just fine. The more important decision you are faced with, is where to put the mic.

Hopefully the drummer has a hole in his front kick head. Guys who don't, have probably never played a show through a real PA system in their lives. In live sound, it is very important to have the isolation that can only be achieved with the mic inside the drum. I think it helps a lot in the studio as well. I feel it is best to have the drummer cut the hole in the front head, whether he has done it in the past or not. This is modern music after all. If it were a Jazz gig it may not be necessary.

I know that some of you are thinking, "......John Bonham didn't cut a hole in his bass drum head...." Yeah well you give me a drummer like John Bonham and I wont complain about it at all!

The problem is most guys don't play the kit that way, so it doesn't always work out. You will find yourself doing extraordinary amounts of HF/HMF EQ boost to get the kick drum to stick out, say, in a busy guitar-oriented track. I would rather have it at the mic than have to create that necessary presence electronically. The added EQ on an outside kick mic will change the sound of your snare, OHs, toms and room mics. It works out sometimes, but only when everything else is ideal, i.e. great drummer, great drums, excellent sonic balance in the kit etc. More often than not it usually just creates situations that force more compromise on the quality of the drum sound.

When miking the kick from inside, there are a few things that are constant. The further inside the drum you go, the more attack you will get. Further out, you get more low-end and less attack. You should experiment with the distance of the mic inside the drum. Listen to the track with everything up. If you are straining to hear the kick drum, then move it in a bit and listen again. If you hear it fine, but feel no low-end support, back the mic out a bit. You can point the mic at the beater, at the shell and all points in between. Each will give you a different tonal characteristic. All of these positions will have a huge effect on the sound and how it fits together with everything else. Take the time to experiment. You will be glad that you spent that extra 20 minutes when it comes time to mix.

As far as recording, while there is no sure fire way creative use of mic's will give an excellent bone of a recording, regardless of what equipment you use. When I track drums I often seperate bass, snare high and low, toms, cymbols, tom's, and the high hat with an overhead and room mic, all seperate and use panning to create my own stereo image and groove. That way when i lay a bass track I can isolate the bass drum and keep the feel and groove dead center. with a slight (and I do mean slight delay to make the bass come alive with smooth bass notes rather than punch.
The guitars and other instruments get layered on top with left and right panning unless its acoustic guitar, then I believe the best way is to record one far enough left and then record another take far enough right that it creates a rich sounding acoustic track. Of course the key is to leave enough headroom to allow for a vocal track to be placed right in the middle is that the bass, vocals, and bass drum are all dead center. While you dont have to do this, it usually will give you the best results.

Just kidding Drake... kinda long post though. Are you at Starbucks?