This will allow you to capture more of the shell resonance, while balancing out the lows with beater attack. Option one is to use a small boom to position a mic an inch or two off the beater. Phone Hours | You probably won’t get the results you want from the standard “stick a ’57 at the port” technique favored by amateur sound guys everywhere. By the way, here’s another place where using a figure-8 polar pattern can be extremely useful, since you can use that extreme side rejection to effectively isolate the kit from the rest of the band. ... this issue occurs. You can install a low-profile drop-in pickup like this in minutes, if not seconds. When it comes to mic placement, it’s going to depend a lot on the sound of the kick itself. On that note, it may be tempting at this point to start throwing extra mics up on other percussion instruments. Even the most accommodating live microphones, such as DPA’s d:vote VO4099-G, can turn into feedback monsters under the right conditions, and in the constantly shifting acoustics of live venues, it’s almost impossible to guess when that will be. While they will fatten up your kick, these pillows also help reduce the chance of feedback, allowing you to push the gain if you need to. Be patient. Hi! This website uses cookies to improve your experience. Sweetwater Sound This little trick just may get you the clean, proximity-effect-free, on-axis sound you want. On the other hand, you have to deal with the proximity effect when the vocalist is too close. Mic placement is one of the biggest factors of good live sound — nothing you do at the board can fix poor mic placement. This is where having a good chat with the lead vocalist before the sound check can be a real lifesaver. You won’t get quite as much attack, but you can balance the mid and low frequencies by moving the mic between the middle and edge of the head to find the sweet spot. You can stick one right up to the grille and get amazingly accurate sound. You start adding mics around the kit as the size of the venue grows, and around the time you start sticking mics on toms, you may want to consider tossing a microphone under the snare drum. In a live setting, the biggest challenge most engineers face is getting the most gain without feedback, and the noise onstage and from the venue’s mechanical systems typically masks finer details like the noise floor of the mics. Photo courtesy of Royer. Where it gets tricky is that actual mic positioning isn’t up to you, it’s up to the singer, especially those who hold the mic in their hand. Vocal mic positioning is often about as easy as it gets. , Royer R-122 on Keith Urban’s guitar rig. Still, it makes a huge difference, and having the patience to find the sweet spot is one of the defining traits of a professional sound engineer. You could start by simply centering the overhead mics over the drum kit using an X/Y or ORTF pair (note: my first choice for this task is a large diaphragm cardioid condenser so that mic type will be assumed throughout this post. Best Overhead Drum Mics & Best Brands for Overhead Drum Mic In spite of the fact that a set of drums can make rather loud sounds, having a mic in the right place is required in certain situations. If you’re in a small space, then there’s a good chance you won’t need to mic up the kit at all. As long as you’ve picked the right mic, you’re in good shape. Obviously, with careful consideration of mic placement and some strategic polarity inversion, one can get a relatively phase free drum recording with multiple mics (I’m not trying to scare you away from using more mics), but the simple truth of the matter is that a drum recording that involves only a single microphone will by definition have absolutely NO phase cancellation whatsoever. For smaller venues, you can ditch the low-end mic. This lets you cover the hats comfortably while minimizing bleed from the snare. AKG D112 MkII – Best kick drums mic. The AT4050 is one of Sweetwater's best-selling vocal mics, and for good reason! Anyone who’s miked up an acoustic guitar in the studio knows that getting great sound from an average acoustic guitar can be a challenge, and it’s even harder to do it live. Option two is to place a boundary mic inside the kick. When a vocalist eats the mic, they produce a large low-frequency boost. Not only will it completely eliminate the need to mic the guitar, but it may also solve a number of other acoustic sound issues you’re likely to run into live. Store Hours, If you have any questions, please call us at (800) 222-4700. Well in this article I’m going to cover five of the best overhead drum mics you can get today.. As a bonus, I’ll also cover 3 MUST KNOW placement techniques and technical lingo to make sure you get the most bang for your buck with whichever mic you buy. Want a better way to get great acoustic guitar sound live? Samson C02s are a great choice for these. A common approach to the hi-hat is to stick a dynamic microphone below it, pointing up at about a 45-degree angle. Well in this article I’m going to cover five of the best overhead drum mics you can get today.. As a bonus, I’ll also cover 3 MUST KNOW placement techniques and technical lingo to make sure you get the most bang for your buck with whichever mic you buy. Another approach is to take a pencil condenser and point it perpendicularly at the hats, right at the plane where the two cymbals come together. Mounts that clamp onto drum rims, such as the On-Stage Stands DM50 Drum Rim Mic Clip, can be a good alternative to traditional stands. When you buy a Shure SM57, you've got a great dynamic microphone for life. Great for indoor use.… As always, it all comes down to trusting your ears and using your best judgment. This type of configuration offers good control over the sound and level of the kick in the mix, and a reasonable balance of the rest of the kit, assuming you’re careful with how you place the overhead mic. Getting great live sound is as much an art as it is a science, and much of that has to do with basic engineering techniques. We hope you’ve enjoyed these insights into live microphone placement. Less is more. As for toms — when you need to mic them, you’ll find the same technique you used on the top-side snare mic (and often even the mic itself) will do the trick. In a live setting, the biggest challenge most engineers face is getting the most gain without feedback, and the noise onstage and from the venue’s mechanical systems typically masks finer details like the noise floor of the mics.

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