Dennis Logan’s Mixing Room

Recording great sounding live drums is probable the hardest part of recording. First the drums must be properly tuned and all the sqeeks and pedal noise must be delt with. Then it’s time to mike the kit. Start with the kick drum, it is best to use a mike designed for kick drum there are several brands ranging from about $100 on up. place the first mike inside the drum about 2″; from the inside drum head pointed at the center or at where the mallet strikes the head. Next place your second kick mic so that the mic is either just inside the hole or about 2 to 4" from the center front head. Have a friends or the drummer sit at the kit and beat the kick until you have the sound you want going into your daw. Next use 2 SM57’s or similar mikes to record the snare. Place the first mike under the snare or bottom about 2" from the center over the snare strings. You may have to move the mic several times until you get the sound your looking for. The bottom mic is use to add the vibrations of the strings to the over all snare sound. Then place the second 57 facing the top of the snare pointed toward the center but keep the mic out of the way of the drummers sticks. Again you may have to play with the placement until you hear the sound you’re looking for. Be sure to label the mic in you DAW as top and bottom for both kick and snare. Again have someone hit the snare in the spot the drummer would and blend the two mic together until you have you perfect snare sound. You may want to add your EQ at theis point to get the kick and snare to sound balanced and clean. Next place 57’s on the toms, again about 2" in at an angle pointed down to the sweet spot on the top head. This works with all toms. Some engineers like to mike the bottom of the toms to fatten up the sound and get a huge clear tom sound. You don’t have to do this, it’s a matter of taste and time. Next use two thin condenser mics designed for overhead miking of cymbals. place them on each side of the kit about 3 to 4′ above the kit pointing at the cymbals. Again have some one hit the cymbals until you have the right mix of cymbals verses kit. Then add EQ to tighten the cymbals so they don’t clang. Next place a 57 on the hi hat about 2 to 4" from the hat and above the top cymbal pointing at an angle just above the point where the cymbals close. Don’t place the mic facing the open space between the two cymbals as you will get a windy and crappy sound. Then EQ and blend with the kit. Again some engineers like to mic the top and bottom of the hi hat. Unless you want your drums to sound like cardboard boxes, don’t put napkins, towel or duck tape on the heads. They make a stick rubber like material that comes in small squares the you can place on the edge ot the head to deaden an overly ringing or donking tom. Try to keep them as open as you can and use EQ to get the tone you want. Be prepared to spend several hours setting up the drums and then don’t move anything. Make notes as to what you have done so that if you have to do it again you will have a guide to speed up the process. Be sure the kick isn’t buried by the low tom and that you have your paning set so the drum kit pan across the palette just like sitting behind the kit. Next you add your room mikes. Use large diaphragm condenser mikes and place the about 2 to 6 feet from the front of the kit at a hard right and left position. Keep moving the mics until you have the sound you want and the blend them into the over all kit. Remember a little goes a long way. EQ to taste and record the kit with the drummer for at least 3 minuts and then listen back to the recording, then make adjustments as needed.