Hey folks
I am looking for help with some options based on what I have (drum set / gear) to track drums. I understand it's subjective but I would say the sound I am wanting to have is being able to do Motown meet early 70s Soul to early Beatles. Great if I can track some Reggae and Jazz occasionally as well. So other than the Beatles sound, if translated to today's artists, perhaps Adele/John Legend/Amy Winehouse/Lenny Kravitz and some HipHop in there etc. My live room (with other instruments) is 15x18'. Ceiling height is 8'.
Here is what I have:
1. 60s Rogers drum set - 22" Kick, 16" floor, 13" rack, 15" Dynasonic Snare, 14" Hat, 20" Ride, 18" Crash
2. Mics: Beyer M88, Senn MD421, AKG C12VR, CAD VX2, U87i, Sony C800G, Shure 55s, Shure SM7 available.
3. Preamps: Inward Connections (think Tree Audio today, same exact preamps with fixed high/low eqs), Neve 1073DPA, Focusrite ISA430, Comps: LA2A, CL1B

The catch is I can only have 5 (6 max) channels of drum tracking based on my current set up. I would love to find out a really good way to Mic the kit with what I currently have.

I would love to find out more about placement locations with what I have, if I need a "pair" of mics such as 2 421s for the toms or maybe a pair for OH etc.
Location of Drumset in a room to get this sound.. anything really.
Any advise would be appreciated! I will post a pic up soon of the set up.

Thanks in advance!!

Mono overhead mic of your choice into Neve, lots of subtractive EQ, LA2A to taste. I'd start there.

Interesting. Of my collection, which one would you recommend the most? assuming LDC? Which position? Omni?
No need for stereo mic OH? Can you please elaborate on subtractive eq in this instance? Perhaps remove the highs more?
Also my Neve doesn't have Eqs. They are just preamps, so any advise on what I 'should get' would be appreciated. Maybe Pultec or API styled? I'm happy to spend a little more if it means it will dial 'the sound' better for me. Also, don't recommend recording drums through "Tube" preamps such as the Tree Audio stuff? Wouldn't that yield for more an older sound as well or is a Neve just that tad dark just better? Thx again!

bump for some advise

Maybe try a sort of glyn johns type arrangement. I would start with the c12, u87 & c800: one above the snare, one out past the floor tom, one out front of the kick, all the same distance from the snare. Soften with tape plugs and such.

As to placement of the kit, there really is no shortcut past putting it in different spots and listening. Sometimes I'll move just the kick or snare around first to get some idea, but often I'll have it set up on a tight utility rug or a sheet of plywood so I can scoot the whole kit around easily if I have an assistant.

Wish I had all the answers for you (and hopefully Bob Ohlsson can jump in here as he was an engineer at Motown back in the day), but I'd start with what you have and try, try, try some more.

What I mean by subtractive is rolling off a lot of stuff above 8k-10k; tube condensers can sound good; omni, cardioid; placement is huge: you can try head height centered over the kit; over drummer's shoulder looking down towards snare and kick beater; you can try the Daptones method with an omni condenser a few feet off the ground between hi-hat stand and snare looking up 45 degrees towards drummer's knee.

So many options, but you'll have to try it out and see what you like.

Also search around for motown drums or 70s funk: there's tons of stuff on here.

The latter 70s funk stuff would definitely be close-miked with really dead rooms, snare tuned low, wallet on the snare, reso heads removed from toms, etc.

Recorderman or Glyn Johns technique would be perfect for what you're going for, IMO.

And you got to come check it out. Any plans for tomorrow?
I'll connect outside. You'd love the kit bro!

Thanks bicasaur and gravyf. Appreciate it.
I am certainly going to try those out. Would you happen to know if 'brighter' mics are ok with the Glyn Johns type approach?

Oops just realized...the Kit cannot be in any corner of a room for the Glyn Johns technique. It has to be centered somehow.
Is there a technique that may be applied to kits set in a 'corner of the room'?

Sure they would be OK. The most important factor is experience and listening. You need to try it and make some conclusions to help for next time.

So with the solid advice you've been given (I like the Glyn Johns set up myself), go and make some noise and see what happens!

Aric

Glyn Johns is my go-to setup for a lot of genres, but vintage/old school funk/R&B it would not be my choice, because those were the days when 4 tracks dominated and more often than not the drums were mono.

I don't really see why that has to be.
Even with an omni or fig.-8 side mic you should be fine if the wall close to it isn't a hard reflective surface.
Many minimalistic techniques have the mics pretty close to the drums anyway, so drum placement isn't THAT critical, IMO. Many of those "oldschool" setups had/have very little space for the drums (Motown, Daptone).
It still has to sound good, though.
A corner can act as a bass booster, but that's more of a factor further in the room in my experience, and even then it can be a good thing.

Thanks folks.
Agree on the Glyn Johns not being ideal for the vintage Motown meet early 70s Soul sound, but I'm looking at doing an additional close mic on the bottom snare and maybe top or inside kick for the pop and finding a balance with the remaining GJ type sound and finding the right balance.
How essential is the Hihat individual micing? It's an exciting phase. Here is generally the space and where I'm trying at kit should go. I tried the left corner and it's tricky for me. Any further pointers would be appreciated.

Question:
If the Bonham/Glyn Johns method with 3 condensers, would the idea of either an additional Mic-ing of the Bottom Snare or Close Mic-ing the Kick make sense as well on top of the 3 condensers?

Edit/Update:
Reading about it online, it appears a Dynamic or Condenser can be used for Kick.
So here is what I just set up.
Beyer MC840 LDC - OH at 4' above snare
AKGC12VR - 4' from snare past to FTom, 6" above FTom
Kick - MD421 (new)
Snare - SM7B

Kick through Focusrite
Snare through 1073
condensers through Tube Inward Connections

I am thinking of adding 2 more mics in the future to get a hybrid with options. Anyone recommend where and what mic?
Me thinks either 1 for HiHat or Bottom Snare based on type of music
The other for distant Kick or Distant room for Sub...maybe Yamaha ns10 sub?
Going to listen properly tomorrow.
Thanks!!!

Also curious to know....
With say a 4 mic option, is there more a closed tighter sound option other than a Glyn Johns type open method?

Hey fellas
Here is the first mic-ing trial. Take into account drums out of tune and not a drummer. No hats yet. Just getting distances and placements right.
Let me know how 'bad' it is first and maybe any positives after..haha
Thanks!!

bump for some feedback ya'll!

What can I say? Sounds like drums to me!
Now the next step is to find out how these drumsounds mesh with the other elements in an arrangement. Either those other elements will dictate the need for additional close mics ( on kick and snare, possibly), or you'll shape them to fit the space left by the drums in their current incarnation.

Hey Andychamp!!
Thanks.
I actually posted two samples here.. Would love to hear some thoughts. This time a real drummer but Im messing with the sound and so on.
https://gearspace.com/board/drums/86...y-drums-3.html