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Originally Posted by kevindoylemusic
PRODUCTION TECHNIQUES
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Producing Drums
Drums are the fundamental component of music; "The Bed Track" as we
call it. All other instruments are recorded to the rhythms of the drum
performance. All instruments eventually trace their roots back to
Africa where rhythm was essential to the spirituality of the tribal
culture. To this day we notice the rhythm of the drum from the native
peoples of Canada, to a dance hall, to someone just tapping their feet
to a beat. We are all intertwined with rhythm.
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Funny... this seems oddly similar to a post from "Matrixmusic" a couple of days ago:
http://www.audiobanter.com/showthread.php?t=48379
That started out something like:
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Originally Posted by Matrixmusic
Recording Drums
Drums are the fundamental component of music; "The Bed Track" as we
call it. All other instruments are recorded to the rhythms of the drum
performance. All instruments eventually trace their roots back to
Africa where rhythm was essential to the spirituality of the tribal
culture. To this day we notice the rhythm of the drum from the native
peoples of Canada, to a dance hall, to someone just tapping their feet
to a beat. We are all intertwined with rhythm.
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At which point I remember responding with:
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Originally Posted by Fletcher
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Originally Posted by Matrixmusic
For the kick drum, you should use a dynamic mic - the bigger the
diaphragm, the better low-end pick-up. I've used RE-20's and
AKG-112's.
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No. Condenser mics work exceptionally well too... sometimes they allow you to work without equalizers. There are no rules other than 'if it sounds good it is good'.
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The Snare Drum
The best way to capture a great snare sound is by close miking it with
a dynamic cardioid-pattern mic that can handle a high SPL and keep
leakage to a minimum.
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Where do you get this sh*t?
Again... condenser mics, both small and large diaphragm condenser mics can work wonders here... and FWIW, there is no law that says you have to stick the mic within millimeters of the top head... please do us all a favor and stop spreading myths that may have the effect of stopping experimentation.
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The best approach to miking toms is to place the mic 4-6 inches above the drumhead at about a 45-degree angle over the head. If you pick up a lot of overtones, a little duct tape in the right spots will kill the
overtones, or if you have a noise gate you can gate out the overtones.
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Where did you get this sh*t? I think I'd rather kill myself that limit myself to anything as dumbass than this... where's that application to go lift boxes for UPS... one of us [and I don't think it's me] needs to get a hold of it and fill one out!!
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The Overheads
[snip happens] Condenser mics such as U-87s and
AKG 414s are the first choice for overheads, and one popular miking
technique is with a spaced pair of mics (on boom stands) mounted 2-3
feet above the drums -the right mic pointed at the right cymbals, the
left mic pointed at the left cymbals.
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AAAAAAAAAaaaaaaarrrrrrrrrrrrrrrrrggggggggggggghhhh hhhhhhhh!!!!!!!!!!!!
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The Hi-hat
Use a small diaphragm condenser mic like an AKG 451 placed about
6" above the high-hats, pointed straight down at the center of the
top hat. Sometimes high-hats have a tendency to produce unwanted
midrange frequencies around 1.5 kHz which tend to make the high-hat
sound trashy. Omitting some of this frequency range will allow the
high-hat to sound more defined in the high end.
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No. Just fu*king NO.
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Room Mics
Use at least 2 omni mics of the same model. Place them in the centre
of the room to get an even room sound. This often requires the use of
hard surface baffles between the room mics and the drum kit. This
removes the initial direct sound in the pickup allowing the
engineer/producer to utilize more of the room resonance.
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Have you ever actually recorded something or are you just regurgitating a setup you saw once on some 'behind the music' footage?
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Drum Compression
Please give some serious consideration to suicide or that gig at UPS... it's moronic articles like this that have been fu*king up the next generations of recording engineers. Stop spreading bullsh*t myths will ya... how about an article on how to not do this via some cookie cutter approach and how to listen and experiment as your thesis.
If you had submitted this as a paper I would have given it a C- at best... mostly for the lack of original thought. It's crap like this that has kids buying Led Zeppelin records instead of new records... it's unoriginal thought that is killing the music business... not downloading, uninspired lack of experimentation, lack of original thought, lack of understanding the rudiments of the endeavor.
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The writing hasn't gotten a damn bit better with it's expansion, nor has the quality [only the quantity] of information improved. It's great that you want to share your myopic and self congratulatory vision with the class... the unfortunate part is that some kid could read this and fu*k up their potential career.
Have you ever considered that you are providing a disservice to the industry with this kind of sub par, sub rudimentary nonsense?
If you haven't had that consideration, he is an invitation for self reflection.
__________________
Fletcher
http://www.mercenary.com
Roscoe Ambel once said:
Pro-Tools is to audio what fluorescent is to light