As for drum heads, I believe the smooth white theory. I had similar experience with remo ebony ambassador on resonant side. They sound (to me) a tad bit more controlled.
I got a guitar cab for free with an open back they wanted to get rid of... I got spare caster wheels and another DI box... Sub kick without having to do much! Love your channel
Impeccable, timely, perfectly-paced, simple techniques, attainable gear, a straight- line no frills road map to an awesome drum sound. This goes in the Pantheon of Actually Useful TH-cam Recording Tutorials, hands-down. Not the first of your videos that I've added to a playlist, but it goes to the top. Could have used a more detailed visual of the principles you described with with the stereo bar and placement directly over cymbal.
This is so helpful! Most of the equipment you used i already own but was lost in how to put it all together. This is a great way to get started building my own sound. Super excited to start working on it right now!
Many thanks for putting this together. Very helpful. You covered loads here without the distraction of diving into screen-based stuff. All applicable to live sound as well as recording. Nice work!!
Thanks. Did see a lot of drum recording video's. Whats new? Change position of bass drum hole/rotate front head. The position of the bass drum mic. ORTF for overheads. The way you position that ORTF. SM57 bottom in stead of top. The self made bass speaker. Thanks for the downloads. It really is difficult to record drums in a small bedroom space. Did experiment a lot with gear and software. But ...paying attention to all factors/elements always will be heard by people: drums/cymbals, tuning, sticks, drumming, balance, room sound, mics, mic placement, cables, recorder and/or preamps, phase, DAW software, effects software, using group buses, effects on tracks,/buses/mix, mastering, monitoring system including sub, acoustics of mixing room, the song/composition, quality of the band members/play along, quality of camera, light, video software, ..
Awesome vid! My band is currently recording live off the floor, using a tascam model 24...two overheads, kick and snare... and we get some pretty awesome results! sometimes less is more
This is fantastic stuff, man. Great, practical ideas that anyone can try, and that show the importance of things like mic placement and head choice. I've been seeing people use the speaker idea for years, but this convinced me.
My first subkick was actually a headphone. My dad had this old pair of Panasonic headphones width 60mm drivers. They were nice headphones while they lasted, but they had a short and one of the drivers was getting a little rubby, all very common things that happened with old headphones. So anyway, I had a marching bass drum that I used, handheld beater with a rubber ball on the end (just a regular stick, broken off and sharpened with a pencil sharpener, stuck in a rubber ball), then I'd have the snare set up with a regular stick in my left hand. This was because I hadn't even started trying to learn drums. So anyway, I had 4 channels to work with, so I did set up overheads in X/Y, and the snare was really loud so I didn't close mic it. Cymbals were recorded separately. I had an SM58 inside the kick drum, or rather the bass drum, but then I also put that headphone on the floor. That's how I learned to actually. My sister and I figure it out, when we only had one microphone, that you could plug headphones into the quarter inch input and sing into one side. Many years later, as an adult, I heard of the subkick and I wasn't even surprised, I knew that this could be done. I had just never tried it with a full size speaker.
Thanks for video and going to try out the overhead position with bar, need to check if you have a follow video showing your mixer faders to see how you blended to create full mix! Ciao Aldo
The kick and snare sound immaculate. I would also like to add that drum heads, room, and overall quality of the actual kit, and ESPECIALLY the DRUMMER all add to the sound. Which is another way of saying that your drumming has gotten quite good over the years 😉
Dude, smooth white emps, I picked up a set of those a few months back and yeah, they are awesome. I had the exact same thoughts as you, they look dumb, and I associated them with like timbales or something. haha. A local drum shop was having the "crazy summer sale" thing and they were selling old heads for like 50 cents an inch, and Smooth White emps were the only ones they had in stock that would make a set for my dumb 5 tom kit. haha. (I actually ended up with a Smooth Ambassador for the 8" tom) and they are awesome, especially if you tune your drums to actual pitches like I do. They make a great note, almost like a concert tom, but then have the body of an emp. so good.
Awesome tutorial. I see you had the OH pair kind of tilted to go across the ”kick-snare line”, if you know what I mean. That would’ve been a cool subject to delve into more. Btw, why do you prefer ORTF over XY, wider spread perhaps? Cheers!
The "subkick" or reverse-wired speaker: I usually see it mounted as a resonant head mic, way up close. I haven't thought to use it as far back as you have it but it sounds really tight and natural. I'm going to have to try some different distances with my Yamaha HS-80m Woofer.
Your comments on cymbal quality were totally on point. I can identify B8 cymbals in a recording from a mile away and that's not a good thing. In fact, I have found some recordings unlistenable only because the cymbals sound distractingly bad. Zildjian K Hybrids are my favorites, for the most part (the rides, hi hats & crashes just sound like what cymbals should sound like), but I'm not fond of the splashes or Chinas in that series. The K Custom Dark ride is a very nice cymbal but I still favor the K Custom Hybrid ride for most uses. Anyway, great video.
Spot on! I have owned Z Custom and A Custom for years…the Z were always great live, but proved to be too friggin atomic for recording most of the time! For me, recording metal the A customs always sounded the best, and for rock/less heavy stuff, the K series is my go to…they are like spreading butter on a delicious piece of bread! 😃
As always, clear and understandable content. I greatly urge everyone of you guys to buy his courses. I have several of them and there's only useful info, no bs.
I love this channel. You should do mix critiques as I think a ton of mixing and recording nerds need to hear the truth and recieve great advice about their mix. I think it would be a fairly easy format video and could become very popular. We need to see you more and maybe this could get you interested about something new. Cheers mate.
Great video Ryan!!! I had a audix f6 laying around, which is like the lower version of the d6, but it does sound a bit different. It lives on floor tom for me, it is absolutely awesome sounding!! Very fat and round, it just gives you that perfect floor tom sound.
Great video and awesome drum sounds! I may have missed it but what was the processing in the DAW (or mixer)? Maybe a quick vid to show how you mixed it with the awesome source tones? thanks again!!
After completing the video, I do wish you would have explained more your positioning of the ORTF stereo set up, that's my biggest challenge right now. To me it looks like an unusual placement, but that could be due to the angle I'm seeing it in the video. I know listening with my ears is the answer, but I am currently doing this alone, and it would take me forever to reposition overheads, run into my control room, hit record and run back out to the drums, etc... I'm using K Custom darks, very nice sounding cymbals in my opinion. Also, for the close mics, you explain finger heights and angles, but where are your ,ics pointing on the head? Center of the drum, out edge of the head, somewhere in between?
The point you make at 5:42 is something I've found recently. I've been using a Heil PR-40 as a kick in mic for a few years, but it's not very forgiving. In my experience it either really works, or it really doesn't. If it really works, it takes EQ very well, but if it doesn't, no amount of EQ will make it sound good.
Did you use the air button on the LCT 140s, or leave them flat ? I'm assuming for overheads, it's probably better to leave them flat, so the cymbals aren't too bright / harsh? If so, the even less expensive LCT 040 match might be ideal, but the air button seems to be popular for acoustic guitar, so a nice option to have if you need it. Are these your "go to" SDCs for overheads now, or do you still prefer the more expensive Soyuz 013 ?
I like them flat. They have a nice mellow sound that way. I use all sorts of SDCs, but these Lewitts are solid for the money. The Soyuz sound good, but are brighter. I'd feel ok with going for the LCT 040 you mentioned if you don't need the other options.
Wow, this was a great video dude! You've got a great, genuine attitude and it shows in your presentation. You should start making/selling drum sample expansions.
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Hey man, your videos are awesome! I did the low freq mic with the guitar amp as you did...simply great! I use a cheap bass amp 1 x 10". More cheap that buying one and much better than if I do it my self with a woffer. Because the cabinet is perfect! Super easy to use! The best hack! jajaja Thanks!
I'd find some 45LB plates to put under the legs of that overhead mic stand. watching the mics constantly bobbing up and down while tracking/knowing the accuracy of the image is always shifting slightly...that'd drive me crazy
Thanks a lot for this video. Super useful as always. Loved the sub, the lewitts and the final sound is amazing. I think the isa do their job as well keeping everything not very colored.
I got a dumb question :( Spatial thinking and arrangement is not necessarily my gift. I have a Rode stereo bar but record 99% of the time using a spaced pair of overheads simply because I cannot seem to get placement correct with the stereo bar. Hard to make it make sense because English is not my gift either. You got a link with more pictures of your overhead setup, particularly the extension or whatever junction you are using to attach the stereo bar to your mic stand? If that stereo bar had an omni ball style mount, I don't think we'd be having this discussion 🤣
5:00 - Great video as always but can I ask with dark and bright in mind what do you say when it comes to a Cymbals ? should consider still using a bright mic on the hi hat, yes?
Solomon loFreq is a really great sub kick mic that is right around $200. Obviously very specialized, but if you mainly records drums then I think it’s definitely worth the investment
Great tip on moving the port hole position. I'm new to drum micing, and I'm wondering... What if you place the mic just in front of the port hole without actually going inside? I tried this recently because I was limited by exactly what you described in the video, but it actually sounded good to me (again I really don't know what I am doing)... Is this considered bad form? If it matters, the mic I was using is an AKG D12VR - due to size and placement of the hole, it was impossible to get the boom arm in.
@Creative Sound Lab, I’m not gonna lie, I was a little surprised seeing you use an SM7B on the kick. I’ve seen it used on hi hats, but never a kick. I would’ve expected a D6 or D112. I’ve used a guitar amp for a sub-kick, in fact, that amp blew and it may end up becoming a full time sub-kick, but I never thought to use a D-Box. I think that I may have to invest in one. Was it a powered D-Box or unpowered?
I noticed that you did not have your overheads aligned with the drums so that the mics for pointed directly at the left and right sides of the kit. Is there any particular reason for that? It sounded phenomenal, either way!
cool sounding set up. my only question is about HH stereo placement. with the ortf overheads placed like this and no dedicated HH mic to balance it out in the mix, it seams the HH is almost at the center of the panorama. maybe with a closed HH and a drummer with good balanced playing (like yourself) it will pass... but if it was an open HH with a more aggressive drummer you would get the "HH everywhere" effect, no ?
Oh man, if you would make a pack of samples of your drums... With multiple velocities and RR... I like your snare drum (tuning in combination with Audix i5). I enjoy these transients every time :D
I usually see people placing the X/Y overheads directly above the snare to keep the snare as the center of the image. Maybe it's the camera angle, but those look like they're favoring the floor tom. What's the logic in their positioning versus being directly over the snare?
It’s more about centering the snare by twisting the boom arm left or right. It *is* closer to the floor tom because that often is the quietest drum in the overheads. Also turns down the hihat as well by being so far away.
One of the greatest channel for recording on youtube! Just read the book of Sylvia Massy. There shes Talking about using a Shotgun Mic as a third Overhead Mic to enhance the Snare sound and cut of the cymbal bleed. Ofcourse there are normal overhead mics aswell Did you ever tried that?
What if you mic'd the high tom from underneath with a small hole in the bottom head, just big enough to get the mic in similar to bass drum, then tuned concert tom feel? id watch that video.
That would disrupt the reso head’s performance, but you could do something similar by miking internally with a micro SDC like a DPA 4099 and passing the cable through an air vent.
I use a beta 87A for the kick - cuz that was the best mic left lmao - Lyx Pro overheads (ridiculous, and I mean, ri-di-cu-lous for the price...!!!), and an older live Apex mic from the snare, when I want a super-compressed sound. Here's the result : th-cam.com/video/zZ72RyB-xUM/w-d-xo.html Using the speaker as a pre-amp is brilliant (at least that what I thought you did lol). However, when doing the inverted speaker wiring to transform into a mic (à la Yamaha Subkick), you do need a really good pre-amp because of how low the signal will be...! Although such high-quality DI do the trick as well for those unable to afford 1073s or equivalent headroom pres, or just a cloud-lifter would be great as well. Also the Joey Jordison (RIP) signature snare might just be the most underrated steel snare out there :O Finally, ORTF is great, but only from a distance! It was made to capture orchestras. If you do have the room for it, like really high ceiling (15 feet +), then yes, ORTF is superb! In my recording here are no tom microphones tho, but I need to expand my kit. It seems we have a similar overheads philosophy, only I place them dead center. I need to try your technique. Sounds amazing! Peace! P.S. : Check out the older Avedis. From the price, they are crazy good in studios!!!
16:17 - two quick questions, please! Will it be a good idea to carve out some of the high end of that floor Tom to reduce cymbal bleed (I can hear high hat, even, from the other side of the kit through this mic) Also tuning the bottom heads high pitch: do you do that with the Tom as well (any thoughts on tuning the snare drum for recording would be interesting as well please) THANKS!!
You can always use the old multiband expander trick to duck out the high end except for when the drum is being hit, and/or manually cut out the spaces in between hits. Depends what kind of drum sound you're going for. Can confirm tuning the reso head a minor third up sounds great, as long as both heads are in a range that suits the drum. For snare, crank the bottom head and tune the top head to taste. Again, depends on what kind of sound you're going for.
You can get great sounds with really cheap mics. Check my reel : th-cam.com/video/zZ72RyB-xUM/w-d-xo.html Is it as good? No, I'm not as good, but I'd say, as a pro, I'm confident it's darn close! OK, the only expensive mic is a Beta 87A on the kick drum, but truthfully, if you're EQ skills are decently good, just throw in a SM57.
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As for drum heads, I believe the smooth white theory. I had similar experience with remo ebony ambassador on resonant side. They sound (to me) a tad bit more controlled.
dude, your channel are one of the best, i learn a lot from you in how to get good recordings, i don´t know how some people are missing this channel
I like the way you approach this. I have always said that good tuned drums are half the battle
I got a guitar cab for free with an open back they wanted to get rid of... I got spare caster wheels and another DI box... Sub kick without having to do much! Love your channel
Impeccable, timely, perfectly-paced, simple techniques, attainable gear, a straight- line no frills road map to an awesome drum sound. This goes in the Pantheon of Actually Useful TH-cam Recording Tutorials, hands-down. Not the first of your videos that I've added to a playlist, but it goes to the top. Could have used a more detailed visual of the principles you described with with the stereo bar and placement directly over cymbal.
This is so helpful! Most of the equipment you used i already own but was lost in how to put it all together. This is a great way to get started building my own sound. Super excited to start working on it right now!
Many thanks for putting this together. Very helpful. You covered loads here without the distraction of diving into screen-based stuff. All applicable to live sound as well as recording. Nice work!!
this is such a great video! great tips and well very produced
Brilliant video, amazing sound (!!!), super clear explanations and speech, cool video production, tasteful playing. Thank you!
Thanks. Did see a lot of drum recording video's. Whats new? Change position of bass drum hole/rotate front head. The position of the bass drum mic. ORTF for overheads. The way you position that ORTF. SM57 bottom in stead of top. The self made bass speaker. Thanks for the downloads. It really is difficult to record drums in a small bedroom space. Did experiment a lot with gear and software. But ...paying attention to all factors/elements always will be heard by people: drums/cymbals, tuning, sticks, drumming, balance, room sound, mics, mic placement, cables, recorder and/or preamps, phase, DAW software, effects software, using group buses, effects on tracks,/buses/mix, mastering, monitoring system including sub, acoustics of mixing room, the song/composition, quality of the band members/play along, quality of camera, light, video software, ..
that was awesome what you did with the guitar amp using it as another mic on the kick drum,thanks for sharing!
Awesome vid! My band is currently recording live off the floor, using a tascam model 24...two overheads, kick and snare... and we get some pretty awesome results! sometimes less is more
This is fantastic stuff, man. Great, practical ideas that anyone can try, and that show the importance of things like mic placement and head choice. I've been seeing people use the speaker idea for years, but this convinced me.
A ton of really great info, thanks very much! The combo amp makes me happy.
My first subkick was actually a headphone. My dad had this old pair of Panasonic headphones width 60mm drivers. They were nice headphones while they lasted, but they had a short and one of the drivers was getting a little rubby, all very common things that happened with old headphones. So anyway, I had a marching bass drum that I used, handheld beater with a rubber ball on the end (just a regular stick, broken off and sharpened with a pencil sharpener, stuck in a rubber ball), then I'd have the snare set up with a regular stick in my left hand. This was because I hadn't even started trying to learn drums. So anyway, I had 4 channels to work with, so I did set up overheads in X/Y, and the snare was really loud so I didn't close mic it. Cymbals were recorded separately. I had an SM58 inside the kick drum, or rather the bass drum, but then I also put that headphone on the floor. That's how I learned to actually. My sister and I figure it out, when we only had one microphone, that you could plug headphones into the quarter inch input and sing into one side. Many years later, as an adult, I heard of the subkick and I wasn't even surprised, I knew that this could be done. I had just never tried it with a full size speaker.
Great Kit/Cymbal choices! (my go to stuff!). same with mics WOW!
Thanks for video and going to try out the overhead position with bar, need to check if you have a follow video showing your mixer faders to see how you blended to create full mix! Ciao Aldo
The kick and snare sound immaculate. I would also like to add that drum heads, room, and overall quality of the actual kit, and ESPECIALLY the DRUMMER all add to the sound. Which is another way of saying that your drumming has gotten quite good over the years 😉
never thought of a guitar combo amp as a sub kick, brilliant thank you. great explanations too.
Mate, you have so much love for the drums !! keep on king
this guy is a wealth of knowledge. grateful for him sharing this wisdom!
Dude, smooth white emps, I picked up a set of those a few months back and yeah, they are awesome. I had the exact same thoughts as you, they look dumb, and I associated them with like timbales or something. haha. A local drum shop was having the "crazy summer sale" thing and they were selling old heads for like 50 cents an inch, and Smooth White emps were the only ones they had in stock that would make a set for my dumb 5 tom kit. haha. (I actually ended up with a Smooth Ambassador for the 8" tom) and they are awesome, especially if you tune your drums to actual pitches like I do. They make a great note, almost like a concert tom, but then have the body of an emp. so good.
Great that you offer a comparison and affordable solutions to expand your Red Pack drum library 👍
Awesome tutorial. I see you had the OH pair kind of tilted to go across the ”kick-snare line”, if you know what I mean. That would’ve been a cool subject to delve into more. Btw, why do you prefer ORTF over XY, wider spread perhaps?
Cheers!
One of the best tutorials. Thanks again, Ryan.
Thats a really good sound. Seems like that speaker cab infront was adding some nice roomy meat to the overal mix
Lewitt is great ... I have a couple 440s large diaphragm.
Great video. A master-class on micing a drum kit. Thanks
The "subkick" or reverse-wired speaker: I usually see it mounted as a resonant head mic, way up close. I haven't thought to use it as far back as you have it but it sounds really tight and natural. I'm going to have to try some different distances with my Yamaha HS-80m Woofer.
Very clear and useful information. Thank You!
Great info...Thanks. The lack of spill is extraordinary.Are you gating the mics?
Your comments on cymbal quality were totally on point. I can identify B8 cymbals in a recording from a mile away and that's not a good thing. In fact, I have found some recordings unlistenable only because the cymbals sound distractingly bad. Zildjian K Hybrids are my favorites, for the most part (the rides, hi hats & crashes just sound like what cymbals should sound like), but I'm not fond of the splashes or Chinas in that series. The K Custom Dark ride is a very nice cymbal but I still favor the K Custom Hybrid ride for most uses. Anyway, great video.
Spot on! I have owned Z Custom and A Custom for years…the Z were always great live, but proved to be too friggin atomic for recording most of the time! For me, recording metal the A customs always sounded the best, and for rock/less heavy stuff, the K series is my go to…they are like spreading butter on a delicious piece of bread! 😃
You sir, deserve a lot of respect.
As always, clear and understandable content. I greatly urge everyone of you guys to buy his courses. I have several of them and there's only useful info, no bs.
AWESOME VIDEO..! Thanks for sharing your great knowledge. Cheers!!! M.
I love this channel. You should do mix critiques as I think a ton of mixing and recording nerds need to hear the truth and recieve great advice about their mix. I think it would be a fairly easy format video and could become very popular. We need to see you more and maybe this could get you interested about something new. Cheers mate.
this is the video i've been looking for :)
Brilliant vid!! I have the lewitt 140’s and sometimes/often they are a better choice than super expensive LDC’s as overheads.
Wow! Good stuff. Loved turning the combo amp into a mic, and the Lewitts sound great! Nice drumming,too.
Awesome video man, super informative, thank you!
Great video Ryan!!! I had a audix f6 laying around, which is like the lower version of the d6, but it does sound a bit different. It lives on floor tom for me, it is absolutely awesome sounding!! Very fat and round, it just gives you that perfect floor tom sound.
Thank you for another great and very helpful video. Your videos are among the best!
Loved the amp subkick trick🔥
Great video and awesome drum sounds! I may have missed it but what was the processing in the DAW (or mixer)? Maybe a quick vid to show how you mixed it with the awesome source tones? thanks again!!
Excellent. Super helpful! Than k you!!!!
Nice video. The room contributes to the sound. Difficult recording in a small (bed) room.
As every time, great solid rock content!
That was just incredibly informative and specific - thank you! I clearly need to get the drum recording series..
Most helpful real world drum recording video I’ve seen in a long time thank you for your work!
After completing the video, I do wish you would have explained more your positioning of the ORTF stereo set up, that's my biggest challenge right now. To me it looks like an unusual placement, but that could be due to the angle I'm seeing it in the video. I know listening with my ears is the answer, but I am currently doing this alone, and it would take me forever to reposition overheads, run into my control room, hit record and run back out to the drums, etc... I'm using K Custom darks, very nice sounding cymbals in my opinion.
Also, for the close mics, you explain finger heights and angles, but where are your ,ics pointing on the head? Center of the drum, out edge of the head, somewhere in between?
The point you make at 5:42 is something I've found recently. I've been using a Heil PR-40 as a kick in mic for a few years, but it's not very forgiving. In my experience it either really works, or it really doesn't. If it really works, it takes EQ very well, but if it doesn't, no amount of EQ will make it sound good.
Did you use the air button on the LCT 140s, or leave them flat ? I'm assuming for overheads, it's probably better to leave them flat, so the cymbals aren't too bright / harsh? If so, the even less expensive LCT 040 match might be ideal, but the air button seems to be popular for acoustic guitar, so a nice option to have if you need it. Are these your "go to" SDCs for overheads now, or do you still prefer the more expensive Soyuz 013 ?
I like them flat. They have a nice mellow sound that way. I use all sorts of SDCs, but these Lewitts are solid for the money. The Soyuz sound good, but are brighter. I'd feel ok with going for the LCT 040 you mentioned if you don't need the other options.
Superb tutorial.
Thank you for really drumming sound good channel of yours, Bro - love those guitar amp ideas hahaha so cool. Cheers!
Thanks. Great video.
Did you know that the kickpad KP1 is so hard to find in France 🇫🇷 ?
Very sad... 😢
Good video
Wow, this was a great video dude! You've got a great, genuine attitude and it shows in your presentation. You should start making/selling drum sample expansions.
Hey man, your videos are awesome! I did the low freq mic with the guitar amp as you did...simply great! I use a cheap bass amp 1 x 10".
More cheap that buying one and much better than if I do it my self with a woffer. Because the cabinet is perfect! Super easy to use!
The best hack! jajaja Thanks!
Awesome tutorial! Thank you!
I'd find some 45LB plates to put under the legs of that overhead mic stand. watching the mics constantly bobbing up and down while tracking/knowing the accuracy of the image is always shifting slightly...that'd drive me crazy
Thanks a lot for this video. Super useful as always. Loved the sub, the lewitts and the final sound is amazing. I think the isa do their job as well keeping everything not very colored.
I got a dumb question :(
Spatial thinking and arrangement is not necessarily my gift. I have a Rode stereo bar but record 99% of the time using a spaced pair of overheads simply because I cannot seem to get placement correct with the stereo bar. Hard to make it make sense because English is not my gift either. You got a link with more pictures of your overhead setup, particularly the extension or whatever junction you are using to attach the stereo bar to your mic stand?
If that stereo bar had an omni ball style mount, I don't think we'd be having this discussion 🤣
5:00 - Great video as always but can I ask with dark and bright in mind what do you say when it comes to a Cymbals ?
should consider still using a bright mic on the hi hat, yes?
Great Video, Great content … Valuable Information 🤘🏽😎🔥❤️🙏🏽🇳🇨 … Thanks
Thank you for all of this!!!
Solomon loFreq is a really great sub kick mic that is right around $200. Obviously very specialized, but if you mainly records drums then I think it’s definitely worth the investment
These are great sounds you are getting. How much do you think the ISA adds to the overall sound of the recording?
thanks so much for this!!!
Great tip on moving the port hole position. I'm new to drum micing, and I'm wondering... What if you place the mic just in front of the port hole without actually going inside? I tried this recently because I was limited by exactly what you described in the video, but it actually sounded good to me (again I really don't know what I am doing)... Is this considered bad form? If it matters, the mic I was using is an AKG D12VR - due to size and placement of the hole, it was impossible to get the boom arm in.
So much wisdom. Thank you
isnt ORTF positioning usually over the center of the drums pointing across it symmetrically? the mics pointed kinda random there...
Thank you so much
@Creative Sound Lab, I’m not gonna lie, I was a little surprised seeing you use an SM7B on the kick. I’ve seen it used on hi hats, but never a kick. I would’ve expected a D6 or D112. I’ve used a guitar amp for a sub-kick, in fact, that amp blew and it may end up becoming a full time sub-kick, but I never thought to use a D-Box. I think that I may have to invest in one. Was it a powered D-Box or unpowered?
Passive DI box. And SM7B is one of those mics that can be used on about anything.
Soo many videos about mics and positioning but i cant find anything about the inputs. where are all the cables going!
I noticed that you did not have your overheads aligned with the drums so that the mics for pointed directly at the left and right sides of the kit. Is there any particular reason for that? It sounded phenomenal, either way!
cool sounding set up. my only question is about HH stereo placement. with the ortf overheads placed like this and no dedicated HH mic to balance it out in the mix, it seams the HH is almost at the center of the panorama. maybe with a closed HH and a drummer with good balanced playing (like yourself) it will pass... but if it was an open HH with a more aggressive drummer you would get the "HH everywhere" effect, no ?
Great tutorial:)
Send you a million hearts 💕 :)
Oh man, if you would make a pack of samples of your drums... With multiple velocities and RR... I like your snare drum (tuning in combination with Audix i5). I enjoy these transients every time :D
I usually see people placing the X/Y overheads directly above the snare to keep the snare as the center of the image. Maybe it's the camera angle, but those look like they're favoring the floor tom. What's the logic in their positioning versus being directly over the snare?
It’s more about centering the snare by twisting the boom arm left or right. It *is* closer to the floor tom because that often is the quietest drum in the overheads. Also turns down the hihat as well by being so far away.
sounding good!
One of the greatest channel for recording on youtube! Just read the book of Sylvia Massy. There shes Talking about using a Shotgun Mic as a third Overhead Mic to enhance the Snare sound and cut of the cymbal bleed. Ofcourse there are normal overhead mics aswell Did you ever tried that?
Ooh that's an interesting idea
@@perpetualgrimace Get the Book, its very interesting!
That is freaking brilliant. Sylvia is one of the very best to ever do it!
When I record my drums I always use shotgun microphones... Audio Techinca and they sound pretty good as overheads!
What if you mic'd the high tom from underneath with a small hole in the bottom head, just big enough to get the mic in similar to bass drum, then tuned concert tom feel? id watch that video.
That would disrupt the reso head’s performance, but you could do something similar by miking internally with a micro SDC like a DPA 4099 and passing the cable through an air vent.
Good one!
Thank you Nils!
I use a beta 87A for the kick - cuz that was the best mic left lmao - Lyx Pro overheads (ridiculous, and I mean, ri-di-cu-lous for the price...!!!), and an older live Apex mic from the snare, when I want a super-compressed sound. Here's the result : th-cam.com/video/zZ72RyB-xUM/w-d-xo.html
Using the speaker as a pre-amp is brilliant (at least that what I thought you did lol). However, when doing the inverted speaker wiring to transform into a mic (à la Yamaha Subkick), you do need a really good pre-amp because of how low the signal will be...! Although such high-quality DI do the trick as well for those unable to afford 1073s or equivalent headroom pres, or just a cloud-lifter would be great as well. Also the Joey Jordison (RIP) signature snare might just be the most underrated steel snare out there :O
Finally, ORTF is great, but only from a distance! It was made to capture orchestras. If you do have the room for it, like really high ceiling (15 feet +), then yes, ORTF is superb!
In my recording here are no tom microphones tho, but I need to expand my kit. It seems we have a similar overheads philosophy, only I place them dead center. I need to try your technique. Sounds amazing! Peace!
P.S. : Check out the older Avedis. From the price, they are crazy good in studios!!!
16:17 - two quick questions, please!
Will it be a good idea to carve out some of the high end of that floor Tom to reduce cymbal bleed (I can hear high hat, even, from the other side of the kit through this mic)
Also tuning the bottom heads high pitch: do you do that with the Tom as well (any thoughts on tuning the snare drum for recording would be interesting as well please) THANKS!!
You can always use the old multiband expander trick to duck out the high end except for when the drum is being hit, and/or manually cut out the spaces in between hits. Depends what kind of drum sound you're going for.
Can confirm tuning the reso head a minor third up sounds great, as long as both heads are in a range that suits the drum. For snare, crank the bottom head and tune the top head to taste. Again, depends on what kind of sound you're going for.
@@perpetualgrimace more great info!
Thanks for your time and patience👍
@@BeesWaxMinder Sure thing, good luck with your recording!
Thx!
Hola me explicarías ese dispositivo que le conectaste al micrófono del kick? Como se llama y que hace?
Earthworks Kick Pad, I think
Interesting he opted for a sub kick in place of a mono room mic 🤔
Why this SM 7 B, a much cheaper for example Akg would have done it even better
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Can we talk about the lack of bleed in this setup? How is this even possible lol.
Audix i5 squad assemble!
These are not cheap mics. I was expecting some staggs or t.bones 😂
You can get great sounds with really cheap mics. Check my reel : th-cam.com/video/zZ72RyB-xUM/w-d-xo.html
Is it as good? No, I'm not as good, but I'd say, as a pro, I'm confident it's darn close! OK, the only expensive mic is a Beta 87A on the kick drum, but truthfully, if you're EQ skills are decently good, just throw in a SM57.
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