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Recording drums?
Old 27th April 2003
Here for the gear
🎧 15 years
Recording drums?


This is my first post here, been reading through old threads this afternoon and learning a lot. Thanks.

I´m recording a band later this week and i´m not sure what mics to use with which micpres on drums, maybe you could help me a bit.

Here´s what i´ve got:
1. Phoenix Drs2
2. Focusrite ISA220
3. Focusrite Tonefactory
4. DBX-1086
5. ART Prochannel
6. Alesis studio24

1. Audio Technica 4060
2. Rode Classic
3. Shure SM7
4. Shure Sm58
5. Neumann Km184
6. 2 Sennheiser MD421
7. 2 ADK-51
8. Shure Sm57
9. AKG D125
10. 2 Shure Sm81

Would this work? Sm81 - DRS2 (overhead), Sm57 - ISA220 (snare, top)
Sm58 - ART (snare under), Sm7 - Tonefactory - (inside kick), AT4060 - DBX (outside kick), Md421 - Studio24 (toms), ADK 51 - Studio24 (roommics).

I figured the best pres for overhead and snare and i don´t know if i should use the km184 (maybe snare??) since i only have one.

I´d really be happy for some ideas
Old 27th April 2003
Gear Addict
Mark's Avatar
🎧 15 years
That's an interesting set up. I take it you want a monophonic drum sound in general, with the two MD421s being used to give a bit of stereo spread to the toms. You have some nice mics, btw.
Old 27th April 2003
Gear Addict
Mark's Avatar
🎧 15 years
Whoops, silly me, you're only using one mic on the Toms. So it's mono all the way then!
Old 27th April 2003
Lives for gear
sonic dogg's Avatar
🎧 15 years
I think you'l be pleasantly surprised and pleased with the ADK's out in front....set them around 4' to 5' off the floor and spread out a bit in front of the drum kit...adjust the angle according to taste...Sm-81's for overheads...i dont think i would worry that much about the snare bottom with the 58..its going to pick-up a lot of kik and hat too unles you gate it and i never liked gates on the snare...a really tight patterned and low sensitivity mic is called for here...
Old 28th April 2003
One with big hooves
Jay Kahrs's Avatar
🎧 15 years
Sure, you could also try a mono overhead and a stereo room setup. Sometimes that can work out pretty well depending on what the room sounds like and what you want to acheive. That would also free up one channel of the Phoenix to use on the kick. When in doubt the best pres go on kick, snare and overheads. The Rode Classic could be good as a FOK mic, try a figure 8 pattern.
Old 28th April 2003
Lives for gear
🎧 15 years
just in case. since polaroid is fairly new at this

FOK = front of kick

distance to taste
Old 28th April 2003
Lives for gear
Steve Smith's Avatar
🎧 15 years
He did say he had 2 SM 81s and 2 421s in the post, I think this should workl really well, althoigh I would also use the KM 184 on Hats, not that everyone here uses hat mics, but better to have it and not use it than need it and not have it....

Good luck, report back and tell us how it goes.

The SM 7 can be a really cool kick mic BTW, you may also want to try it outside the kick right in front and put a 58 inside if you need the attack.. experiment!
Old 29th April 2003
Gear Maniac
Cape's Avatar
🎧 15 years
SM-57 is a good choice on the snare. The bottom does't really matter aslong as it a bit bright (that bottom sounds ****eee on it's own). Overs are most important, you get them right and your away, hey hey man. I think you should keep mikes similar on a kit, small room small dynamic (e604), massive room U87's every where. With the M149 dropped at an angle just above the BD hole.

If it's a dead room, use small directional condensers aimed horizontal just above cymbals pointing a little to centre. If you have a room with reflections I'd go for the pointing in the opposite way, but not to much.

My two plops.

Big rooms probably favor larger diaphrams, but we all aint got big ones.

(and hang on someone above is using my drunken exploits to there own gain...quality)
Old 29th April 2003
Gear Head
🎧 15 years
I think it is important to know what kind of band you are recording. If its a heavier band I think it would be important to get your best two pres and mics on kick and snare, and to make sure you find a way to get each tom individually miked. The room/overhead mics would be a little less important in this scenario. It also depends a lot on the kit being used and the way the cymbals are setup. If its not a heavier band, then room and overhead mics become much more important and there will be felxibilty in tom mics. My 2 cents
Old 30th April 2003
Here for the gear
🎧 15 years
Thanks a lot for all the replys, i havent got Internet i the studio, sorry for this late reply. Also now i have limited time to post this so i´ll be happy writing more later.

Just a few notes, the room i have is really big (about 45x36 Feet) with stonewalls (concrete) with lots of reflections. The band i´m recording are playing alternative music (kind of Pixies, Dinosaur Jr, Lemonheads) basically two guitars, bass and drums.

Thanks again, i´ll concider all your suggestions.
Old 2nd May 2003
One with big hooves
Jay Kahrs's Avatar
🎧 15 years
That's a pretty huge room. I'm jealous. You might want to try putting up gobo's around the kit to keep the close mics dry. You'll get more then enough ambiance from the overheads and room mics.
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