Drum Room Mic

But if you ve got two mics to spare for a room setup combining a far away mid side configured pair with a mono overhead also makes for some very interesting contrasts.

Drum room mic.

Then remove the mud that can be found around 200hz to 400hz. Isolates the microphone signal from other instruments around it. Omni room mics capture the room. Drum room mic eq mixing.

And by gently i mean using a low pass filter in order to remove the crazy cymbal bleed. Nominate your favourite drum room mics we re approaching our goal of speccing up a full gearslutz drum mic kit and you helped us to determine some of the best mics for kicks snares overheads and tom toms so let s begin wrapping this up. The goal of your room microphone recordings shouldn t be to get something incredible on their own you want something that emphasizes you drum mics helping them ascend to new heights altogether. Mixing your room mics can be a challenge especially when everything they capture tends to also get captured by closer mics.

In an ideal world we d always be able to record drums in a great sounding room one of a decent size that with just a little knowledge of mic technique makes it almost effortless to capture the sound of a live drum kit enhanced with nice. If i m going stereo for drum overheads i ll likely stay mono for my room mic so that the overheads and room mic sounds don t step on one another s toes aurally too much in the mix. Ambient miking can really make your drum sound even when you re not blessed with the greatest of spaces. You can then mix this in with the other drum tracks to add a different quality of reverberation to the drums.

The sm57 is often used as a snare drum microphone as it rejects noise very well from the hi hat. As you can imagine a drum set is very loud and there are a lot of instruments in extreme proximity to one another. Isolates the microphone signal from noise in the room. First and foremost make sure you re in phase.

Omni room capture the room. The room mics can be useful for adding some low end to the drums. With the 20 db pad you can get up to 135 db spl meaning it can withstand the dynamic range onslaught of a studio drummer. Breath life into your recordings.

Set up your drums in a nice sounding room and place an additional mic just outside the door to catch an additional ambient sound. Then cut around 600hz to 800hz to remove flatness. You main aim here is to blend the mics gently. The mic of choice for most recording engineers when recording a kick drum is a dynamic mic.