When to mic drums?

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  • ESBlondeESBlonde Frets: 3576
    Musicwolf said:
    uncledick said:
    On the subject of 'ringing' a room I've found a pink noise generator on eBay for about £20 but can anyone suggest an RTA mic?  The cheapest I can see are around £69. 


    Behringer ECM800 for around £30.  I have one and they would do the job in a live situation.
    This is exactly what the ECM8000 is designed for, particularly with the Behringer UltraCurve Pro DEQ2496.

    They work well.

    R.

    Yes this,

    Firstly always use the same vocal mics (and a set of the same for all voices). Then pre set the monitors for a flat(ish) response with the ECM to even out dispertion and crossover difficulties if they are passive/Bi-Amped or cheap actives. Do this outdoors in the open without reflected sound to distort the findings. Now set this as the default for those monitors. It gets you 70% there before you start and you just have to get placement right and sort out arising issues. On a night where there is no time, you are in a decent starting position regards feedback.
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  • Red 5 started doing one their stuff is usually quite good https://www.red5audio.com/product/rv200-measurement-microphone/
    www.maltingsaudio.co.uk
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  • drwiddlydrwiddly Frets: 911
    Our drummer would mic his entire kit if we were playing in a phone box! :)
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  • Hi all. In the end our sound guy (the sax players husband) pulled out last minute so thankfully we had a dep who stood in and really knew his stuff. We mic’ed the kick drum and a couple of mics above the toms and cymbals. Everything went through the desk. I went out front for a song and it sounded awesome. Had everyone dancing and singing up to the 11pm curfew. (Was due to finish at 10.30) so a good night.! Thanks for all the advise
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  • TJT1979TJT1979 Frets: 181
    Glad it worked out!

    I have a related question for the experts. As a minimum for most situations, people tend to recommend a dynamic on the kick, and condenser(s) overhead. What is the benefit of 2 overheads rather than one? Is it just to pick up a wider spread?

    Thanks in advance.
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  • John_PJohn_P Frets: 2744
    TJT1979 said:
    Glad it worked out!

    I have a related question for the experts. As a minimum for most situations, people tend to recommend a dynamic on the kick, and condenser(s) overhead. What is the benefit of 2 overheads rather than one? Is it just to pick up a wider spread?

    Thanks in advance.
    Yes - with a single OH you might struggle to pickup everything in the right balance and no stereo, that said it I’ve used just one plenty of times when you’re only looking to add a tiny bit in the PA.  
    I prefer L & R above the hats and ride and straight down to minimise the snare pickup depending on the drummers playing style.  
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  • robinbowesrobinbowes Frets: 3021
    Here's a (rather too small) picture of the drummer at a gig I did PA for on Dec 20th:



    I use a pair of condensers in ORTF arrangement, typically central over the whole kit, or slightly towards or above the snare.

    Drummer is Dave McCluskey, playing with Heather Findlay at the NCEM.
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  • Danny1969Danny1969 Frets: 10356
    edited January 2020
    TJT1979 said:
    Glad it worked out!

    I have a related question for the experts. As a minimum for most situations, people tend to recommend a dynamic on the kick, and condenser(s) overhead. What is the benefit of 2 overheads rather than one? Is it just to pick up a wider spread?

    Thanks in advance.

    You only tend to need or be able to use condenser overhead mics on larger stages. Dynamic cardioid mics have a reasonably tight pattern so although drum spill will get in guitar and vocal mics it's generally manageable as in 75 % wanted signal 25% unwanted spill being a typical bad scenario. With condenser mic's the pattern is far wider and even .... on a typical small stage with the guitar amps only a metre or so from the drums the condenser mics will pick up everything as well as the drums. This can be a problem with more like 50% wanted cymbals and hats and 50% unwanted out of phase shit sounding spill ! 

    For pubs, small to medium club gigs you generally find it's best to mic the kick and toms .... whether you mic the snare depends on how hard your drummer hits. For some drummers their snare hit is so loud it will get into the vocal mic's, the guitar mic's and your be fighting to reduce it not make it louder.  Other bigger gigs or softer hitting drummers mic the snare as well. 

    Don't aim the tom or snare mic too far down towards the drum .... it may seem like the right thing to do but the sound of the head develops above the head not on it. Try a gentle angle down and try to put the mic somewhere the drummer won't hit it but also so the hi hat and ride are in the mics dead zone ... otherwise a tom or snare mic can quickly become a hi hat or ride mic. 

    If you are gonna use overheads then a quick and trusty method is to use a spaced pair equal distance from the snare and pref in phase with the kick drum. As ever though with drums the results will totally depend on how well the drummer can balance themselves ..... with drums you literally can't polish a turd 
    www.2020studios.co.uk 
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