Currently using 2, one on bass drum and one for overheads. I use this mostly for my jazz recordings so I can capture the way I play. In saying that I play everything super focused and built from the bottom up as is the tradition by all the great players
if you've got an amazing sounding room, amazing kit, player, and recording equipment you can definitely do this for certain situations. not going to work for a lot of applications tho.
I use a cheap digital reference series mic pack with a 3 mic set up like this and love my sound! Crazy and it proves the sound of the room, your kit and how you play effect it all! All the pro legends in recording will tell you, you don't need to get crazy with plugins! Simple EQ, compression and reverb is ALL YOU NEED! Too cool and great videos Austin! MI alum represent!
The mix literally saved a project i did. I record with an yamaha ead10 and applied nearly exactly this mix and it does wonders. Thank you man keep it up!
I literally just heard about recorderman technique last week, and this video really made it seem easy and approachable. Love the thoughts on EQ as well. Would love to hear what you did for compression on the individual mics!
I have a pair of Earhworks TC25s, which I use in more or less the same setup as you do. They're just as awesome, and they capture the room a bit more, since they're omnidirectional. Really great vid Austin! :D
Crazy timing! I was just learning about how John Bonham’s drums were mic’ed up (almost exactly what you’ve done here) and I’m planning on utilizing this setup for my kit also 👍🏻👍🏻
Great content, sounding really great! A quick observation though: As you were playing back the overheads and moved one over to the right a little bit, the speaker itself wasn't reproducing the snare sound out of phase because your mics were hard panned to L and R. If you really wanna experience what an out-of-phase sound can do to your mix you should do the exact same thing but with both mics centered so you could really hear the phase issue. Otherwise its just the R speaker playing the same sound but a little bit before the L speaker, what you get this way is just a wider sound and maybe a phase cancelation happening in the air around you which is way less noticeable than the phase cancelation you would get if you played both sounds from the same speaker. But as I said, this is just an observation, I really dug the content. Keep it up!
One thing not often mentioned with this style of three mic recording is you need to be a good drummer. Austin clearly is a great drummer. Watch when he records this section he isn’t over hitting the cymbals. Being a drummer and having recorded myself a bunch of times it took me a long time to realize I was hitting the cymbals too hard. If you play heavy music it’s hard to relearn hitting the snare, kick, toms hard while being a bit more laid back on the cymbals. Also not mentioned is if you use an omni directional microphone you don’t have to worry about phase as much and allows you to place the mics in a bit more creative ways. I still usually have my mics spaced equal distance anyways. The Omni mics will pic you the room more so maybe not a good thing of your room blows. Anyway, that’s just like my opinion. To each their own.
Good points! I definitely have to augment my dynamics with this kind of setup, focusing on hitting the drums harder and the cymbals softer to keep them balanced. It’s an interesting challenge for sure.
Oh, wow, that sounds great!! I have been experimenting this week with the WeatherVane technique. 3 mics in triangle overhead = great full drumset, give it a try.
One thing I really like is that you know how to properly tune your drums. I can’t tell you he many times I’ve gone to see some local band and the drummer has everything tuned down super low, including the snare because they think it makes them sound big. In reality they just sound like cardboard boxes. Drives me f’n bonkers. The comment I consistently get from other drummers after a gig is “Man that snare sounds so good.” Yeah, I know how to tune it. 😂
I’ve always preferred the (like you said) aggressive, processed drum sound. Fat, beefy low end toms that you can really only get with individual mics. That said, your drums sound terrific in this video.
Very nice video Austin!! I been watching your videos foir a while! Dude your face was awesome at minute 5:34 Lol!!! You are regularly very serous!!! Sending you mi best wishes from Alaska bro!! take care and keep on postong good shit!! XD Thank you!
The signals from the snare might be perfectly in phase, but nothing else will be. The floor tom for example is a lot closer to one mic than the other, so the two mics won't be in phase for the floor tom. But as long as you don't try to combine the two mics into mono, does it matter? No, not really. The phase difference is all part of the stereo effect.
Honestly I don't even worry about that. I'm aware of the 3:1 rule but I just focus on getting the mics in the position that seems the most practical and making sure they are the same distance from the snare drum. Seems to work fine so far!
Awesome tips ! I'm doing my very first steps on recordings drums and DAW utilisation etc. these last weeks. I'm using Logic, and a 4 mics set up (2 overheads, sm57 on the snare, and Audix on the kick). What I've been doing kind of "naturally" was to try to EQ each mic individually.. Is it a wrong way to do ? Maybe I should get my 4 tracks into one drum bus and then EQ all in once (as you do here) ? Anyway, thanks for the video !
It's not wrong to do that. I do some subtle processing on the individual tracks but I prefer to make big global changes to the entire drum sound from the drum bus. I would encourage you to research "Top Down Mixing" to learn more about it.
@AustinBurcham: Hey Austin, I might digress from this videos topic but after watching your content for years I have to ask whats your personal reason to why you choose to play traditional grip compared to matched grip ?
Well, it is definitely a stylistic/artistic decision instead of a logical one. I have used both grips off and on since I started playing, but as I matured, I realized that the majority of my favorite drummers and favorite solos use traditional grip. I adopted it fulltime when I started the Study The Greats series because it naturally aligned with the style of drumming I break down in those videos, and I have been using it ever since. It's not better or worse than matched, but it does change your feel, ideas, and approach so it's just a stylistic decision that each person has to make for themselves.
@Austin Burcham: Dude thanks so much for your candid, honest answer, Austin. I can dig that. Thanks also for always providing good content. Job well done. Please keep up the good work. Blessings!
Not bad for about $2k worth of mics ;) Sounds really good actually. You mention kick mic, but not specifically where you place it. Is that inside or in front of kick, and do you have to flip polarity on that signal (I ask because I normally flip polarity on my kick mic placed inside kick)? Another great and insightful video. Really like the addition of reverb, and you helped clarify the concept of using send for me.
I usually always opt for Spaced Pair when doing a full mic setup. I only use Recorderman for the 3-mic setup so I can't really give you a good answer there!
Do you find that you have to back off from the cymbals a bit while playing when using this approach? The main problem with using minimal microphone setups is positioning. You need to have the time to record, listen back, adjust, repeat. With multi/close mic setups, you can worry about balance after the fact.
the main problem is how you (or drummer) play :D if you're bashing your cymbals, especially hi-hat, even with good positioning you just can't do anything after recording it
Why did you cut more from 230, 450, and add another high pass in the drum buss after you already cut the same FQs and had a high pass in the Overhead inputs? Also, most of the improvement you hear in the drum buss is the high shelf and low boost feeding into the saturation you have on your buss. I get the overall feel you were going for in a lessons-type sound and it does sound nice in a studio environment with no other instruments or vocals to compete with. I run live sound with decent gear in a large line-array PA. In my environment, this EQ technique would be unnecessary and would usually lead to me having to boost more digital trim which can lead to feedback. Obviously, feedback is not an issue in a studio mix but this method of EQ is taking more signal out of your overall chain than it should. It's leading to a thin mix and is ultimately cutting into your signal/noise ratio. Clearly you're still getting some great tones and volume for the video but I would challenge you to not pile on more EQ in your signal chain that continually cuts more and more from the same parts of the FQ spectrum. Again, it obviously works well for this kind of video but would fall apart quickly when playing with other instruments.
Are you a minimal mic bro or a multi-mic bro? Personally, I'm down with both depending on the application. Let's hear your thoughts!
I am a broke phone Mic bro
Currently using 2, one on bass drum and one for overheads. I use this mostly for my jazz recordings so I can capture the way I play. In saying that I play everything super focused and built from the bottom up as is the tradition by all the great players
I bought the audix dp7 thanks to your mic review!! So so happy with them
Minimal mics for rehearsal.
Earthworks are my first request in session work but, at The Blackbird Studio, John usually knows best.
I understand the use of close mic’ing every tom and stuff, but practically, I really feel like this is all you need.
if you've got an amazing sounding room, amazing kit, player, and recording equipment you can definitely do this for certain situations. not going to work for a lot of applications tho.
Crazy how good such a simple setup can sound. I especially like the attack and body of your toms and the crispness of the snare. Good job!
4:04 got me singing Ants Marching.
Haha the snare indeed sound exactly like in the song!
Wow! Detailed + punchy. Love a good minimal drum mic'ing setup. Refreshing to hear a neutral, room-y, clean drum tone.
I use a cheap digital reference series mic pack with a 3 mic set up like this and love my sound! Crazy and it proves the sound of the room, your kit and how you play effect it all! All the pro legends in recording will tell you, you don't need to get crazy with plugins!
Simple EQ, compression and reverb is ALL YOU NEED! Too cool and great videos Austin! MI alum represent!
The mix literally saved a project i did. I record with an yamaha ead10 and applied nearly exactly this mix and it does wonders. Thank you man keep it up!
Nice Austin ..the sound you get is super clean. those earthwork Mics have incredible clarity... And minimal set up is awesome.
I literally just heard about recorderman technique last week, and this video really made it seem easy and approachable.
Love the thoughts on EQ as well. Would love to hear what you did for compression on the individual mics!
Wow! In this whole day I was looking for drum recording stuffs. Thank you Austin this is really useful 🤘🏽
Wooooow! That was a really unexpected, tight sound for a minimal setup!!
No lie. I might use this setup at my church. These drums sounds really good. You can hear everything!
I have a pair of Earhworks TC25s, which I use in more or less the same setup as you do. They're just as awesome, and they capture the room a bit more, since they're omnidirectional. Really great vid Austin! :D
Crazy timing! I was just learning about how John Bonham’s drums were mic’ed up (almost exactly what you’ve done here) and I’m planning on utilizing this setup for my kit also 👍🏻👍🏻
i was looking for the exact same thing and this video pop's out...these mf phones started to read our minds
Great content, sounding really great! A quick observation though: As you were playing back the overheads and moved one over to the right a little bit, the speaker itself wasn't reproducing the snare sound out of phase because your mics were hard panned to L and R. If you really wanna experience what an out-of-phase sound can do to your mix you should do the exact same thing but with both mics centered so you could really hear the phase issue. Otherwise its just the R speaker playing the same sound but a little bit before the L speaker, what you get this way is just a wider sound and maybe a phase cancelation happening in the air around you which is way less noticeable than the phase cancelation you would get if you played both sounds from the same speaker. But as I said, this is just an observation, I really dug the content. Keep it up!
One thing not often mentioned with this style of three mic recording is you need to be a good drummer. Austin clearly is a great drummer. Watch when he records this section he isn’t over hitting the cymbals. Being a drummer and having recorded myself a bunch of times it took me a long time to realize I was hitting the cymbals too hard. If you play heavy music it’s hard to relearn hitting the snare, kick, toms hard while being a bit more laid back on the cymbals.
Also not mentioned is if you use an omni directional microphone you don’t have to worry about phase as much and allows you to place the mics in a bit more creative ways. I still usually have my mics spaced equal distance anyways. The Omni mics will pic you the room more so maybe not a good thing of your room blows.
Anyway, that’s just like my opinion. To each their own.
Good points! I definitely have to augment my dynamics with this kind of setup, focusing on hitting the drums harder and the cymbals softer to keep them balanced. It’s an interesting challenge for sure.
Austin Burcham Austin, thanks for making great videos.
Totally agree 100%! Kid's read up!
Oh, wow, that sounds great!! I have been experimenting this week with the WeatherVane technique. 3 mics in triangle overhead = great full drumset, give it a try.
Man that's just great, the sound is insanely good and feels right, your playing subtle and the explanation just deep enough. Cheers from France!
One thing I really like is that you know how to properly tune your drums. I can’t tell you he many times I’ve gone to see some local band and the drummer has everything tuned down super low, including the snare because they think it makes them sound big. In reality they just sound like cardboard boxes. Drives me f’n bonkers.
The comment I consistently get from other drummers after a gig is “Man that snare sounds so good.” Yeah, I know how to tune it. 😂
I’m kind of unhealthily obsessed with tuning... I spend wayyy too much time on it, like, every day haha
Austin Burcham Austin Burcham Well it definitely shows. It’s wild your drums sound that good with just overheads.
@@abbdrums Do you use a tunebot or tension meter? or just by ear?
Beautiful Sound!
This was a great video. The sound you're getting is amazing!
Excellent video. Very clearly explained and demonstrated!
I’ve always preferred the (like you said) aggressive, processed drum sound. Fat, beefy low end toms that you can really only get with individual mics. That said, your drums sound terrific in this video.
Before EQ，sound very nature and usable
Thank's for the tips bro....
This is great Austin and sounds great lovely playing I got some Sr25s and ow on the old to capturing my kit 👊🥁☘️
Really informative tutorial, amazing content as always
great lesson and playing, and awesome mics
Very nice video Austin!! I been watching your videos foir a while! Dude your face was awesome at minute 5:34 Lol!!! You are regularly very serous!!! Sending you mi best wishes from Alaska bro!! take care and keep on postong good shit!! XD Thank you!
Greaaat maan , big sound absolutely
excellent Austin!
thanks!
Very good tutorial!
Earthworks is dominating the drum micing game....
a desser on vox will help too, great vid
your sound is awesome
The signals from the snare might be perfectly in phase, but nothing else will be. The floor tom for example is a lot closer to one mic than the other, so the two mics won't be in phase for the floor tom. But as long as you don't try to combine the two mics into mono, does it matter?
No, not really. The phase difference is all part of the stereo effect.
I love a snare that pops
Sounding Good!
Awsome sound !! What is your linear phase EQ plugin ? Is it free ?
Great presentation. Is the Reverb you are talking about PC only. In other words, is there a Mac version?
Hi, just got to watch the video (HaHa...). got to ask - what cymbals are used for he stack - it is beautiful
I just need something for my home studio/prac room. Dont really see the need to go all out on a 7 piece kit so maybe 3 will be enough.
What’s the distance between the overheads? Any method for choosing that to avoid phase? They sound great!
Honestly I don't even worry about that. I'm aware of the 3:1 rule but I just focus on getting the mics in the position that seems the most practical and making sure they are the same distance from the snare drum. Seems to work fine so far!
would be great to have your Logic ProX template for this set up!
Great tutorial
Great video thank you!!! What kind of mic stands were you using to hang the mics from your ceiling ???
Thanks for this.
Does this work for live drums in a small room or club?
cool sound man,3 mic's,i don't need nothing more
Awesome tips ! I'm doing my very first steps on recordings drums and DAW utilisation etc. these last weeks. I'm using Logic, and a 4 mics set up (2 overheads, sm57 on the snare, and Audix on the kick). What I've been doing kind of "naturally" was to try to EQ each mic individually.. Is it a wrong way to do ? Maybe I should get my 4 tracks into one drum bus and then EQ all in once (as you do here) ?
Anyway, thanks for the video !
It's not wrong to do that. I do some subtle processing on the individual tracks but I prefer to make big global changes to the entire drum sound from the drum bus. I would encourage you to research "Top Down Mixing" to learn more about it.
@AustinBurcham:
Hey Austin, I might digress
from this videos topic but
after watching your content
for years I have to ask whats
your personal reason to why
you choose to play traditional
grip compared to matched grip ?
Well, it is definitely a stylistic/artistic decision instead of a logical one. I have used both grips off and on since I started playing, but as I matured, I realized that the majority of my favorite drummers and favorite solos use traditional grip. I adopted it fulltime when I started the Study The Greats series because it naturally aligned with the style of drumming I break down in those videos, and I have been using it ever since. It's not better or worse than matched, but it does change your feel, ideas, and approach so it's just a stylistic decision that each person has to make for themselves.
@Austin Burcham:
Dude thanks so much for
your candid, honest answer, Austin.
I can dig that.
Thanks also for always providing
good content. Job well done.
Please keep up the good work.
Blessings!
Not bad for about $2k worth of mics ;) Sounds really good actually. You mention kick mic, but not specifically where you place it. Is that inside or in front of kick, and do you have to flip polarity on that signal (I ask because I normally flip polarity on my kick mic placed inside kick)?
Another great and insightful video. Really like the addition of reverb, and you helped clarify the concept of using send for me.
Been over a year since your last upload. Anyone know whats up with Austin????.
How do you record your Mac screen with audio signal? 😅
Fantastic as always, Austin, thanks! How do you pan the overheads? Cheers.
Medium left and right, -35 and +45
This is game changing ‼️‼️🥁🥁
Where do you place the bass drum mic? Is it best to put it on a separate track?
The bass drum mic is a few inches inside the port of the front head pointing toward the beater. And yes, it is best to record it on its own track.
Very useful information! Thanks! How would you say Recorderman works along with having microphones on every tom?
I usually always opt for Spaced Pair when doing a full mic setup. I only use Recorderman for the 3-mic setup so I can't really give you a good answer there!
Do you find that you have to back off from the cymbals a bit while playing when using this approach? The main problem with using minimal microphone setups is positioning. You need to have the time to record, listen back, adjust, repeat. With multi/close mic setups, you can worry about balance after the fact.
the main problem is how you (or drummer) play :D if you're bashing your cymbals, especially hi-hat, even with good positioning you just can't do anything after recording it
Yes I definitely have to concentrate on hitting the drums harder and the cymbals softer. It’s a challenge!
Are you sending wet and dry signal into the reverb bus, or just wet? Thanks man, good stuff.
The reverb is always set to 100% wet on the aux track. Otherwise you'd just be doubling up your dry signal unnecessarily.
Well. I always appreciate Austin and his abilities,,, these mIc.s however are out of my price range,,, they are expensive.
You can do this with any mics, even sm57s
great, but at 4.50 it is not the same as flipping the phase, with a 180 degrees in a plugin
cheers
Do you use the same mic for the bass drum? How is it placed?
I use the Audix D6 on the kick just a few inches inside the port hole.
3 mics? I only see and hear yall talk about 2? Where and what is the other mic??
Hey Austin, do you pan the two overheads?
Yes, I have been setting the left to -35 and the right to +45 and that has been sounding pretty good so far.
Why did you cut more from 230, 450, and add another high pass in the drum buss after you already cut the same FQs and had a high pass in the Overhead inputs? Also, most of the improvement you hear in the drum buss is the high shelf and low boost feeding into the saturation you have on your buss. I get the overall feel you were going for in a lessons-type sound and it does sound nice in a studio environment with no other instruments or vocals to compete with.
I run live sound with decent gear in a large line-array PA. In my environment, this EQ technique would be unnecessary and would usually lead to me having to boost more digital trim which can lead to feedback. Obviously, feedback is not an issue in a studio mix but this method of EQ is taking more signal out of your overall chain than it should. It's leading to a thin mix and is ultimately cutting into your signal/noise ratio.
Clearly you're still getting some great tones and volume for the video but I would challenge you to not pile on more EQ in your signal chain that continually cuts more and more from the same parts of the FQ spectrum. Again, it obviously works well for this kind of video but would fall apart quickly when playing with other instruments.
Sounds very compressed to me 😳