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Micing a kick drum - music


This months tip deals with micing kick drums.

You wouldn't have faith in how many colonize ask me about micing their kick drums. It leads me to accept as true ancestors certainly don't know how to.


It became so fashionable in the mid-90's by means of the early 2000's to use MIDI or sampled dum sounds in productions that many colonize now have no idea how to background a "real" drum when the "band" or "live" sound came back in.


So, first clothes first. You need to make sure the definite sound source, in this case the drum, sounds as good as it can sound. You might have to "sell" the idea to the drummer that just for the reason that his drum set sounds or works a a selection of way in a live setting, that might, (probably) won't sound good in the studio.

One of the original assessments you must make is influential the value of the drum. This isn't a careful discipline and if you are not a drummer, this almost certainly won't be customary knowledge. But it is attractive easy to learn. The next time you are in your local music store drooling over the most recent TC Electronics piece, work your way over to the drum department. Pay close consideration to the differentiation in the shells among the easy on the pocket sets (say $1000 or less) and the more classy sets (those over $1000). If the shell is pure wood, like maple or birch, it typically needs less muffling in the demo process. If the shell is some type of wood or fiberglass wrap, as normally found on less exclusive kits, they by and large command more muffling for copy purposes.

Less muffling commonly means charge the front (non-beater) head on. This way, the drum can pulsate fully and reverberate completely. The ringing may sound like too much, but most of the ring will be lost in the mix. Again, this is a atypical mindset than live. In a live situation, you would want to check the ring as much as feasible to avoid feedback. If you start copy and the drum is still ringing too much for your taste, start muffling a diminutive bit at a time. A thin blanket laid classified the drum will commonly do the trick.

With less classy drums that need more muffling, take the front head absolutely off or at least make sure that there is a good size mic hole cut into the head. Deaden with pillows and/or blankets. There are beater, or back, heads that come pre-muffled. If possible, use a head that is not muffled. These quiet heads work great in a live backdrop but do not give you as much be in charge of in the studio. Add or take away muffling as needed. Keep this in mind, though, even if much of the ringing will still be lost in the mix, the tone that an easy on the pocket shell puts out is not near as "sweet" as a advance shell. It is commonly in your best appeal as an persuade to cut as much of this ring exclusive of bringing up the rear all of the tone.

The back bearing of micing a kick drum is the mic itself. Usually, a dynamic mic with the main diaphragm you can find is the best bet. My all-time choice mic for kick drums is the EV RE20. This mic is equally exclusive for a dynamic mic, though, and many home studios do not have them in their mic aresenal. The AKG D112 is a good choice. Sennheiser has its E chain that is cute good. If all else fails, you can continually use a Shure SM57. You need a combine of these in your studio anyway.

The last part of micing your kick drum is the mic placement. A few inches one way or a different can make or break your recording, so experiment, experiment, experiment! As a all-purpose rule, the more barely audible your drum is the deeper confidential the drum you want to place your mic. Start with the mic flush with the front head with the mic facing the food-processor and keep heartbreaking the mic added and added into the drum until you get the absolute assess connecting tone and the "slap" or "click" of the beater.

Here are some tricks that I have for my part used with good results:

- to get more "click" or churn sound

Switch food-processor from cloth to wood. These can be bought at your local music store.

On top of pillows or blankets, sit a ashes block. It gave me a "punchier" sound.

Use a seperate mic in back of the kick drum by the drummer's foot facing the beater. - not an adequate amount low end

Set a chair a few feet in front of kick drum and drape a heavy blanket from the drum to the chair. (You may need to use a bit of duct tape to get the blanket to stay on the drum. ) Set the mic under the chair facing the kick drum. This tends to focus the low end and let it arise a bit more beforehand it reaches the mic.

Whew! That's alot of work, huh? Again, don't be fearful to experiment.

Philip Langlais is the come to nothing of iKnowAudio. com, the site for affordable, applied online audio assembly training. We focus in credo you the art of digital recording, mixing, editing, mastering, how to use compressors, eq's, reverbs, etc. Visit us at http://www. iknowaudio. com.


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