Zildjian Recording Tips: Positioning your Drums and your Cymbals
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- เผยแพร่เมื่อ 5 ส.ค. 2024
- In this Zildjian Recording Tips series we will learn about recording and mixing drums from some of our top audio engineering friends in the industry!
In this episode, Ross Rothero-Bourge, who mixes many of our Zildjian Performance Videos, walks us through the importance of positioning your drums, cymbals and microphones correctly when recording.
Explore more from Ross at:
/ @rossthesoundguy
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Blow my mind with the placement of the overheads 🤯
Yeah that was unusual and cool
Yeah, it’s pretty genius!
As a mixer I totally agree with this. But whenever I sit behind a kit myself I put everything below elbow height lol
There’s a discussion on DrumChannel with some famous drummers and a physical therapist that works with musicians. The most common injury he sees with drummers are shoulder injuries from playing the cymbals too high. Another problem with having the cymbals so high, is that they will really jump out in the overheads. If you only want cymbals in the overheads, then fine, but if you want a whole mix in the overheads, the cymbals will really overpower the drums simply because they are so much closer to the mics.
This was a lot more helpful than I thought it would be (:
This is brilliant stuff. I really appreciate the fresh way of looking at this very important process. The entire seven-plus minutes are worth the time!
Now I gotta try this one out! Thank you 😎
Dude, thanks so much for this, really great stuff. Getting the snare centre with the kick is brilliant, so simple but makes so much sense. I noticed Chris Coleman had his hi hats as high as they could go on the mix video you did about him...
Ooo a brit working for Zildjian 🇬🇧💪 yehhh 🇬🇧
great advice just starting some recording with limited mics and this has been super helpful!
Dave has always played with his hi hat "high up" almost every heavy rock drummer of the 80s did this, I do this (mid bicep or elbow level hat/ride~ sit low knees up- toms almost flat -cymbals high and level). Driving the kit*
Thank you 💖, a much waited discourse....
Great advice.
Never used mics on my kit .
Would like to try them at the studio we jam at.
Thanks mate 👍
Thxx
Greetings frm Mauritius !!
2:30 awesome advice! Thanks!
Super relevant and useful stuff! Nothing can ruin your sound like hihat bleed in the snare. And drummers will not be aware of this unless they are into engineering themselves.
Thanks for putting this up mate, it does make a change to hear someone concentrating on the basic stuff and explaining it in detail.
Is it ok to message you about my set up please and see if you can help me with a better sound? I don't have top notch mics but would be grateful for any little advice you could give
Hit me up on insta! 👍🏻
It’s interesting that you have the snare in the middle with the kick🤔
I often like to pan it off centre🤷♂️
This actually really helped with the idea of setting the drums up for success and isolation... coming from a guy who has been recording for 15 years.
Huh
Could you do a video on the different kinds of microphones you can use? I have always struggled with my drum sound and I feel as if my microphones aren't the right fit for the sound I want.
What mics you using mate?
I find any decent large diaphragm condenser pair is your ticket for the overheads (in cardioid mode if multi-pattern). Your close mics depend a lot on positioning which he doesn't talk much about in this video (he kind of says "get the overheads right and flavor the rest to taste). Snare and even rack toms are fine with SM57 or similar. There are many decisions that take a lot of experimentation like pointing the dynamic at the edge of the head or more toward the center on snare and toms; whether to use a bottom mic on the snare as well as a top, and how to mix them (and whether to flip the phase on one of them). Kick needs a large diaphragm dynamic in most situations I've been in. If you need bite then you want a second mic near the edge of the head, and that can be another '57 or whatever else. If you're using this kind of arrangement and not getting the results you want, you might be more needing to think about the processing rather than just the mics. Getting a competent drum sound is a bunch of factors all balanced against each other. But super worth it when it all comes together.
@@RadioMarkCroom excellent advice (&EQ would be worth looking into too👍)
Flexibility is important.
Boa tarde Colega 👍
Travis Barker implements these drum position techniques in and out of the studio. It’s funny because he sometimes gets hate for his setup but in the end it’s proving ideal for a great sound👌🏻🥁
cool stuff. if we want to get super ridiculous and higher tech and more work than necessary, here's what you do. Capture a drummer's performance via midi. Then connect that midi to a robot arm, that is holding a stick (or 2) . Play back each drum/midi track one by one, with the robot in the room with the one drum you're recording. total isolation, totally ridiculous, but separation.
Thanks for the advices, however it seems that drummer's persepective is not important. I perfectly understand sound needs but you should consider that everyone has its own comfort in placing HH and cymbals (and only this way the play better) and sound engineers should start from there to solve their complications to come out with a good sound. This seems the other way around.
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@Ross The Sound Man
@Avedis Zildjian Company
Sorry Ross, all that babbling, showing off your studio, console, and live room, etc, and not a single actual Sound Sample to support your methods and make your point?!?! WTH?
Mate, not providing sound samples when discussing audio/recording is the same as "a picture is worth a thousand words" with no picture. SMH
You could have easily included quick clips of the isolated overheads, each close mic, and a full rough mix.
You all obviously took a fair bit of time just to set up and produce this video as is, but couldn't go the extra mile and provide the most important elements? C'mon guys!
And I can absolutely understand needing/wanting this type of isolation with cymbal bashers like Grohl and Hawkins, LOL.
It obviously depends on the type of music being recorded and produced, but I'd much rather have my O/H mics capture a balanced "full picture" of the entire kit, and have the drummer "mix" themselves by touch/velocity/intensity.
Again, not always possible, but yeah. And that setup is definitely going to have some negative physiological effects if adhered to long-term.
It would be extremely fatiguing and off-putting for a drummer that's not used to this type of setup during a long studio session.
It's certainty easy to implement when you're the engineer just sitting in your cozy control room chair twisting knobs and pushing faders. GTFOH :-P
I completely agree, this however is only part 1, your gona enjoy part 2. 👍🏻
@@RossTheSoundGuy Please include a link to that part two in the description?