More recording ?'s What mikes are people using ?

jaymandude

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Like a lot of you, I'm been focussing on a small home rig while I'm not gigging. If I send tracks that's great, but mostly for me it's a way to learn something new and fill up a massive amount of downtime. I've been a live player for almost 40 years. So I'm really feeling this.

So the question.. what everyone using ? Cascade ribbon overheads ? Beta 52's ? 57's on everything ? Large diaphram or smalll diaphram condensors and why ?

Have at it :)
 

MusicianMagic

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Like a lot of you, I'm been focussing on a small home rig while I'm not gigging. If I send tracks that's great, but mostly for me it's a way to learn something new and fill up a massive amount of downtime. I've been a live player for almost 40 years. So I'm really feeling this.

So the question.. what everyone using ? Cascade ribbon overheads ? Beta 52's ? 57's on everything ? Large diaphram or smalll diaphram condensors and why ?

Have at it :)
Do you have a budget? you can spend $50 to $5000. How many mic pre's on your interface?
There are a number of ways to mic a drum kit. You can do it with one mic. Two, three or twenty. None are wrong. I have a full studio in my home, full mic locker & I don't use the same mics or same technique every time. Also if you're tracking in an untreated (acoustically) room, you'll want mics with a narrow pickup pattern. So what mics work for one person may not work well for you or your situation.
 

jaymandude

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Do you have a budget? you can spend $50 to $5000. How many mic pre's on your interface?
There are a number of ways to mic a drum kit. You can do it with one mic. Two, three or twenty. None are wrong. I have a full studio in my home, full mic locker & I don't use the same mics or same technique every time. Also if you're tracking in an untreated (acoustically) room, you'll want mics with a narrow pickup pattern. So what mics work for one person may not work well for you or your situation.
Thanks. And all true. What I'm "presuming" is a lot of guys are doing a set it and forget it kind of thing with their drum rooms. So it's not as much a recommendation question as a curiousity question.

Having said that, it has been suggested to me as I get set up that a small diaphram condenser ( like a Warm WA84) might be better with a low ceiling than an AKG C214 ( that $1000 on the AKG gives you an insight into my budget) . There's a lot of options out there, Jospehson, MikTek, Soyuz, Warm, Peluso, and the classic stuff from the veterans like Shure, Royer, and Sennheiser.

Really just a chance to share people's likes and set ups. But way cool that you have so many options. I've actually done some pretty cool stuff, but never in my 13x11 spare bedroom. Not drumwise anyway
 

bpaluzzi

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I'm using a Beyer m201 on the snare, some combination of a Shure Beta 91, Shure Beta 52, and AKG 214 on the kick, and Shure Beta 98As on the toms. Overheads are either a Avantone CR-14 (dual-motor ribbon) or a pair of Blue Bluebirds (large-diaphragm condensers). I'm replacing the overheads with a Vanguard V44S stereo condenser as soon as they're back in stock anywhere.

I wouldn't consider anything on my list "high-end" mics, but they're definitely a step above my old rig (which is now reserved just for live -- Audix i5 or Shure SM57 on snare, Audix D2 or D4, Audix D6 on the kick, and SE sE5 small-diaphragm overheads).
 

marc3k

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I'm using one AKG C214 behind / above my head and a D112 for the bass drum. I have a second C214 across the room to get an idea of how the drums sound at that distance. I only started with this whole recording stuff - I use it mainly for practice. I "upgraded" from a EAD10, and I'm happy with the results.
 

hsosdrum

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... it has been suggested to me as I get set up that a small diaphram condenser ( like a Warm WA84) might be better with a low ceiling than an AKG C214 ( that $1000 on the AKG gives you an insight into my budget) ...
My drum room is a master bedroom with a standard 8-foot ceiling. I'm using two AKG C214s as overheads and they work great. I used to use small-diaphragm condensers (Nakamichi CM300s) as overheads, and they also worked well, although the 214's are much better mics. However, I found that the key to getting a good overhead sound was to install absorbers on the ceiling above the mic locations. Before installing the absorbers the ceiling reflections created noticeable comb filtering.

The way I mix my drums, about 70% of the over all non-bass-drum mix is from the overheads, the rest is from the tom mics (four AKG D6s). For bass drums I use two AKG D112s (the bass drums are not picked up very well at all by the overheads). With this setup I've found that I do not need a mic on my snare drum. However, I do need a mic (AKG D8800) behind my Paiste Symphonic Gong, since the gong is far enough off-axis from the overhead mics that they don't pick it up very well.
 

musiqman

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My studio mic list:
Shure KSM-27 x2 for Overheads (actually great for anything but excel as O) with the low cut switch activated.
Shure SM-57 x2 for snare top and bottom
Sennheisers MD-421 x4 from the 70’s for toms
Sennheiser E-602 on kick
Shure KSM-137 on hh

Furthermore I have:
Shure Unidyne 546 from the 60’s for musical director duties
AKG D-540 as spare
Unknown brand (ala E-945) as spare

I have collected these over the years and all were bought used. Which makes that you can spend only a fraction for a killer mic closet.

For instance, the set of 4 of the legendary 421’s was purchased for only €750 last month, so you can really save on money here and get enough mics.

In the future I might get a sub kick device but now the kick has more lows than enough and the Sennheiser does a great job tracking these freqs.


60A8C6F6-CE0F-4204-A2DB-9E3AEE63D72F.jpeg


The room is a special for music appliances build Esmono soundproof ''cage''. Because of this, the kick can face the wall and stand so close to it, without any big slapback.

I don't use any special mic pre's as I want to capture the true sound of the kit. This is also why I don't use any processing or effects. The client gets the drum as they are, so they can add what they want later in the process.

I do track midi simultaneously on the kick and snare when needed.
 
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Seb77

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I have a small mobile rig: a Zoom H6 with the usual x/y or M-S capsules and a pair of Beyer MC930 SDC.
I can use these for recording choir, band etc. to document concerts etc.
I could also use just the stereo and use some of the following single mics as spot mics:
1x Shure SM57
1x Shure SM58
1x Beyer M88 TG
1x Eletrovoice N/D 868
1x Audiotechnica ATM25 (currently residing in one of my bass drums)
The latter three come from a time when I was trying different bass drum mics, the ATM being the clicky mic, the 868 the bassy one and the M88 more or less neutral.
For recording drums (for my own enjoyment only), I've used the MC930s as overheads and the Zoom in front of the set, with the 868 on the bass drum reso head. Short clip here:
https://soundcloud.com/seb234%2Fdrum-sound-2020-02 This works for a more roomy sound. For a closer sound, I'd have to get that Zoom adapter to replace the internal mics with two more XLR inputs, then I might mic toms separately with two Sennheiser 421 I could borrow (I don't like using the Zoom as x/y overhead, just because all the cable and the buttons/display would be up there).

I might also invest in a nice LDC at some point as a spot mic for solo vocals etc., but then it would be time to get a bigger interface as well.
 

rculberson

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I’m running a super simple rig with the primary purpose of demoing different grooves and sounds on ideas that my band guys send me. That simple rig consists of a C414 overhead and a Beta91a inside the bass drum. The C414 captures the snare, toms and cymbals smoothly and accurately.
 

manoeuver

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I like a Sennheiser 421 on snare drum, and I use a couple cheap MXLs: a small diaphragm overhead and a large diaphragm condenser for a room mic. also a cheap dynamic BD mic (CAD?)
My studio is in a 1000sqft cluttered warehouse and it sounds really good in there:
 

Heartbeat

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My recording room is a bonus room over the garage. In normal times I record at a really nice professional studio designed by Wes Lachot, but with COVID, I've been sending my raw home tracks to a producer and am blown away by the sound we're getting. Everything is crisp and clear.

Kick: Shure Beta 52
Snare: Granelli 5790 (an SM 57 at a 90-degree angle)
Toms: Sennheiser e604s
Overheads: Shure PG81s
Room mic: AKG P420
Interface: Focusrite Scarlett 18i20
 

mikesdrums

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Most of the home recording I do is with the band playing together. Here's what I normally use:

Snare drum: Shure SM57
Smaller toms: Audix D2
Floor toms: Audix D4
Bass drum: Shure Beta 52
Overheads: AKG C 430

That's my regular setup, what I use when the band comes over for practice and we just record everything. If we're trying specifically to capture a recording and have time to try different things, I might use these:

Snare drum: Audix I5 or an Audio-Technica ATM63HE
Overheads: Oktava MK 12
Room mic: Golden Age Project R1 MkII
 

Tornado

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Snare: SM57
Toms: Sennheiser e604
Bass: Audix D6
Overheads: Se electronics SE8 matched pair.

I don't think the e604 is enough for floor toms. Will probably replace with Audix D4.

The D6 isn't my favorite kick mic, but it's damn easy to get a great modern sound with.
 

fishaa

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I keep it pretty simple:

Kick: RE20
Snare top:: SM57
Snare bottom: Neumann km184
OH #1: Neumann km184 or Soundelux 195 (Centered over kick drum pedal beater at 5’)
OH #2: Coles 4038 (About 1’ behind my right shoulder and 1’ above it)

I rarely have a rack tom or hihat, and use only one cymbal on the right (ribbon) side at a time, to keep this setup (and my playing) uncluttered. So that informs the number of mics. And sometimes all I need is that ribbon. Depends on dynamics of the tune.

All the above thru some combination of CAPI, Heritage and Neve pre’s into a Metric Halo 2882
 

jaymandude

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I keep it pretty simple:

Kick: RE20
Snare top:: SM57
Snare bottom: Neumann km184
OH #1: Neumann km184 or Soundelux 195 (Centered over kick drum pedal beater at 5’)
OH #2: Coles 4038 (About 1’ behind my right shoulder and 1’ above it)

I rarely have a rack tom or hihat, and use only one cymbal on the right (ribbon) side at a time, to keep this setup (and my playing) uncluttered. So that informs the number of mics. And sometimes all I need is that ribbon. Depends on dynamics of the tune.

All the above thru some combination of CAPI, Heritage and Neve pre’s into a Metric Halo 2882
Wow. Yeah. What’s not to like about this ? :)
 

phdamage

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I have a pretty decent mic locker. I also strongly prefer SDCs on drums (especially toms) to dynamics. some good stuff you can find for pretty cheap: oktava MK-012 (or MC-012); Shure SM98 (tiny and very easy for placement in tight spots), SE electronics X1D (discontinued, sadly, but can be had for cheap and work great for toms, lots of low end)

my typical setup these days:
kick in - BeyerDynamic D71-C or Beta 52/D-6 if less top end desired
kick out - Soundelux U195 or DIY subkick
Snare top - Oktava MK-012 or Beyerdynamic m201
snare bot - Shure SM98 or Sennheiser 441
toms (each) top - MK 012
toms (each) bottom - SE X1D or Audio Technica 4050
OH XY: Josephson c42 with a mono ribbon or OH spaced pair Beyerdynamic m160 or some modded cheapo ribbons in fig 8
room: AKG 414s in omni

optional
distant room: Oktavamod MKL2500 tube mic
FOK: Oktavamod MK319
spot mics for cymbals: Audio Technica 4051
 

Neal Pert

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Right now I've built my rig out a bit but before I did, I used:
  • Rode NT4 as my stereo overheads
  • Shure SM57 snare
  • Shure Beta 52 bass
  • Allen & Heath ZEDi-10FX mixer/USB controller

I've got a new video coming out with some friends this week, but this is the first mix of the sound from that rig: https://soundcloud.com/reverend-mister-mark%2Fi-shall-be-released-mix1
I've expanded and now it's:

  • Rode NT4 as stereo overheads
  • Sennheiser E-604 on toms and snare
  • Shure SM57 snare bottom
  • Shure Beta 52 bass drum
  • sE 2200 as a room mic
  • Zoom LiveTrak L-12 12-channel Digital Mixer / Recorder
I've already done a couple tracks with this rig and I'll post them when they are done.
 

MusicianMagic

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Thanks. And all true. What I'm "presuming" is a lot of guys are doing a set it and forget it kind of thing with their drum rooms. So it's not as much a recommendation question as a curiousity question.

Having said that, it has been suggested to me as I get set up that a small diaphram condenser ( like a Warm WA84) might be better with a low ceiling than an AKG C214 ( that $1000 on the AKG gives you an insight into my budget) . There's a lot of options out there, Jospehson, MikTek, Soyuz, Warm, Peluso, and the classic stuff from the veterans like Shure, Royer, and Sennheiser.

Really just a chance to share people's likes and set ups. But way cool that you have so many options. I've actually done some pretty cool stuff, but never in my 13x11 spare bedroom. Not drumwise anyway
In my case for my own drum kit (drums is not one of my main instruments) I do set it & forget it as far as mics. I think all my mics on my own kit come to less than $300 and still sound pretty good. The price of your mics never dictate the quality of audio you are recording.

Having a low ceiling is not really related to small vs. Large diaphragm condenser. You should treat the ceiling. Reflections from a low ceiling are awful no matter which mics you use. I have a pair of WA84 but only used them a couple of times on drums. They are fantastic on acoustic guitar, cello or horns tho.
for overheads my favorite are AT4040 but C214's are outstanding & I use them as well.
if you like Warm Audio consider a WA14 for snare. I own two real AKG C414, neither brass. I now own 3 WA14. My most often used mic on drums other than SM57's.
There have been numerous comparisons over the years/decades of SM57's vs. more expensive mics on Toms. Almost always the $100 Sm57 is almost always as good or even better than more expensive options. Plus its easier to get a good sound without bleed thru, other noises on drum kits. Most of those great recordings with fantastic sounding toms over the last 50 years used SM57's. As I said before, price isn't related to quality.
 

fishaa

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I’d also add that an sm58 can sound really good on a kick drum.
 

jaymandude

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In my case for my own drum kit (drums is not one of my main instruments) I do set it & forget it as far as mics. I think all my mics on my own kit come to less than $300 and still sound pretty good. The price of your mics never dictate the quality of audio you are recording.

Having a low ceiling is not really related to small vs. Large diaphragm condenser. You should treat the ceiling. Reflections from a low ceiling are awful no matter which mics you use. I have a pair of WA84 but only used them a couple of times on drums. They are fantastic on acoustic guitar, cello or horns tho.
for overheads my favorite are AT4040 but C214's are outstanding & I use them as well.
if you like Warm Audio consider a WA14 for snare. I own two real AKG C414, neither brass. I now own 3 WA14. My most often used mic on drums other than SM57's.
There have been numerous comparisons over the years/decades of SM57's vs. more expensive mics on Toms. Almost always the $100 Sm57 is almost always as good or even better than more expensive options. Plus its easier to get a good sound without bleed thru, other noises on drum kits. Most of those great recordings with fantastic sounding toms over the last 50 years used SM57's. As I said before, price isn't related to quality.
Thanks yet again. I'm in a rental house and pretty nervous about too much treatment and altering this too much and paying when I leave. I'm actually looking for an inexpensive house to buy here in TX, so I'm excited about that. . So I'm going to suffer thru this for a while until come up with some solutions. Which include some large gobos and bass traps. I have heard much beter things about the WA14's than the 84's. I think the extra 300 per pair will be a much better investment.

I'm happy to see guys using the Beyer here, I've used 57's for 40 years. Yes, I know all about them. But I'll choose something else if I can :cool: Thanks again for all the comments. It's funny, something I played on recently was mixed by Justin Stanley. If I could get the sound going in that he gets coming out. man, Id be one happy mf.

 


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