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3james
01-27-2001, 03:09 AM
wondering if anybody would like to share their secrets in getting a killer studio kickdrum sound. I'm looking for BEEFY but keep on getting FLABBY !!!

Rams Boy
01-27-2001, 06:17 AM
It could be the drum. My first rule for a good drum sound is to start with well tuned, good sounding drums. It's hard to make a crappy kit sound good.
After that, depending on the song I usually do 1 of 3 things.
1. D112 inside kick 2-3 inches from beater head. (Deeper sound)

2. Senn 421 inside kick 3-5 inches from beater head. (Tighter sound)

3.Add a U47fet outside the kick 1-3 feet away. This adds incredible body and clarity and fullness to the sound.But dosen't work for all songs.

Also a Beyer M88 works well in place of the 421 or D112.

[This message has been edited by Rams Boy (edited January 27, 2001).]

MMazurek
01-27-2001, 07:11 AM
If you can, add to the above by covering the drum with a packing blanket. It reduces some leakage from toms/cymbals and isolates the kick a little more.

(really nice preamp/eq combo doesn't hurt either)

Sortasonic
01-27-2001, 07:22 AM
I've had great results with a Sennheiser e602 inside and Royer R-121 several feet out in front with some minimal EQ tweaks (usually high pass). But I agree with Rams Boy. You can argue about mic brands all day, but it really boils down to a good sounding drum and room. Once you have that, you're 90% of the way there. Honestly evaluate you're kit sound before you even put up a mic.

maxcap
01-27-2001, 07:51 AM
I read this in modern drummer.... try tuning the drum higher.
The theory being that you bring the low frequencies of the drum up to a pitch you are able to hear.
If the drum is tuned to low all you are going to hear is attack and not much of the drum.

jeffjuliano
01-27-2001, 06:56 PM
The Beyer M-88 is the best single kick mic I've ever used. I swear by it! It gets all the top end smack and all the "subby" lows we all love to feel in a kick drum. When avalible I submix the M-88 with a Nueman FET 47 in front of the kick about 6 inches out with a pop screen in front of it to keep the air from blowing out the diaphram. Keep in mind all of these toys don't make a bit of difference if the drum sounds lousy from the get go or you have a drummer with an inconsistant foot and a big attitude. I find the later situation to be more common these days.

Good Luck!

Fred Cannons
01-27-2001, 07:42 PM
Try a Shure Beta 52 (on a shock mount preferably) about 12" away from the batter head and off-center - about 3" from the shell. I find the Focusrite Red 1 a superb mic pre for kick drum. Front head makes a difference too - a bigger, rounder sound. A mic on the front head too (a large diaphram condenser - U47, KSM44, U87 etc) works great. Also try less damping against the batter head but a weight sitting on a towel in the drum really helps tighten the bottom end. Contrary to popular belief you will increase the low end response by tightening the batter head. Also the front head can be pretty tight. Works great!!

Hsk
01-28-2001, 12:04 AM
Assuming the drum is skinned right, dampened right and tuned right. . . I get great results using 2 mics as follows:
1)Shure SM-91 (Boundry mic) sitting on the bottom of the kick shell (must be on top of any dampening blanket);
2) An EV RE-20 sitting half way up, a few inches off the inside shell back about 8 inches from the skin.
I record on separate tracks with no EQ or Compression. For Monitoring blend to taste thru a Bus and Aux with a bit of EQ and compression.
============== and the later if you wish =========
depending on the type of music. . . you can get crazy and bus the tracks to a couple of mono Auxes and set up with plugins such as:
1)Filter bank P4 + F2 + Waves R-Comp.
2)Amp Farm + Filter bank P4 + F2
You can use F2 to split the spectrum of the kick between the 2 auxes and balance things out with EQ, compression and distortion to get some pretty wild punch. . . Also I sometimes sneak in the Rectifier Plugin, set to alternate, on one of the Auxes to get a fake lower Octave to simply move a little more air (careful).
To think I used to do this on some projects projects 10 years ago with active cross-overs, tube pre-amps and a DBX sub-sonic processors. Now you can do it in 10 minutes and save it with your mix.

I love Plugins.

[This message has been edited by Hsk (edited January 28, 2001).]

dBHEAD
01-28-2001, 12:20 AM
I like the Electro-Voice ND868 inside the shell and pointed at the beater, no EQ. Then, an RE20 pointed at the shell with a pretty significant high frequency boost. It gives a nice, crisp THUD you can feel in the pit of your stomach.

bingo
01-28-2001, 12:55 AM
Try this!

1. Use two microphones, condenser ones..

2. Put one mic on each side of the drum
head. same distance.

3. Flip the the phase on one of them.(either
with a phase shifted cable, or in your console).

A bit akward but worth trying http://duc.digidesign.com/ubb/images/icons/smile.gif

Be aware/ Bingo

Giles Reaves
01-28-2001, 03:26 PM
Originally posted by Hsk:
Assuming the drum is skinned right, dampened right and tuned right. . . I get great results using 2 mics as follows:
1)Shure SM-91 (Boundry mic) sitting on the bottom of the kick shell (must be on top of any dampening blanket);
2) An EV RE-20 sitting half way up, a few inches off the inside shell back about 8 inches from the skin.
I record on separate tracks with no EQ or Compression. For Monitoring blend to taste thru a Bus and Aux with a bit of EQ and compression.
============== and the later if you wish =========
depending on the type of music. . . you can get crazy and bus the tracks to a couple of mono Auxes and set up with plugins such as:
1)Filter bank P4 + F2 + Waves R-Comp.
2)Amp Farm + Filter bank P4 + F2
You can use F2 to split the spectrum of the kick between the 2 auxes and balance things out with EQ, compression and distortion to get some pretty wild punch. . . Also I sometimes sneak in the Rectifier Plugin, set to alternate, on one of the Auxes to get a fake lower Octave to simply move a little more air (careful).
To think I used to do this on some projects projects 10 years ago with active cross-overs, tube pre-amps and a DBX sub-sonic processors. Now you can do it in 10 minutes and save it with your mix.

I love Plugins.

[This message has been edited by Hsk (edited January 28, 2001).]

I though nobody else ever tried that Shure SM-91 mic! Great ideas Hsk (in the "later if you wish section). Can't wait to try the rectifer! Try the 1176 plug in place of the Ren Comp for an even puncher raunchier sound! You gotta love them plugs!!!

Jules
01-28-2001, 05:21 PM
Royer 121 with pop shield 1-2 ft from front head in - regulation 'airtight' packing blanket tunnell. ****in AWSOME ala Zeplin. black Crows (mix with internal 'close mic')
Compresss a tad if you are feeling wickid!
jules

Kenny Gioia
01-28-2001, 10:23 PM
I like the D12 or D112 inside the drum with the U47 Fet about 2-3 feet outside the kit

3james
01-29-2001, 04:29 AM
thanks guys! great advice. I'm also thinking of wrapping an ankle weight around the drummer's ankle so he'll use a bit more power on the old kick!!!