vibes Posted September 12, 2003 Share Posted September 12, 2003 Hey all: Have project studio.. Mainly record funk and pop,,used to close miking everything and using overhead condensers for basic sound. Need to record a guitar trio Upright bass,Guitar and drums.. Want a nice warm yet not overpowwering drum sound Question related to tracks Wondering if any of you have ideas on basics with jazz drums.. Stereo overheads one for snare and one for bass mane sense? Any reason for nore tracks Thoughts welcome.. vibes Link to comment Share on other sites More sharing options...
Jazzman Posted September 13, 2003 Share Posted September 13, 2003 Hi vibes.....just a thought.....try placing the overheads closer to the drums in overhead position. Facing down, but not on top or facing the cymbals. See what you get. Usually the hat is miked. Sounds real nice in Jazz. Jazz is uaually played a little lighter with a lot of stick action on the hat, cymbals and snare. My hat mic is facing down on a 5 deg. angle toward the bell, and about 6-8 inches above. If you hear overtones move the mic up a little, or turn down the gain. Just some thoughts. Otherwise your set-up sounds fine. Jazzman Link to comment Share on other sites More sharing options...
offramp Posted September 13, 2003 Share Posted September 13, 2003 Assuming the drums are tuned to speak their maximum selves... let the drums have their space, and mic the space. I've upped my standards; now, up yours. Link to comment Share on other sites More sharing options...
Tedly Nightshade Posted September 14, 2003 Share Posted September 14, 2003 "Assuming the drums are tuned to speak their maximum selves... let the drums have their space, and mic the space." Yeah... that's it! A WOP BOP A LU BOP, A LOP BAM BOOM! "There is nothing I regret so much as my good behavior. What demon possessed me that I behaved so well?" -Henry David Thoreau Link to comment Share on other sites More sharing options...
musa Posted September 14, 2003 Share Posted September 14, 2003 peace, 1 to 3 microphones would do. the drumset has to be treated like one instrument (which it is) not a collection of several instruments. it could be one in front of the drums, at drummer's head height facing to the belly. or one overhead and one in front of the bd (full resonant head on). or 2 oh 1 bd... experiment around and find your sound. enjoy! Link to comment Share on other sites More sharing options...
Siberian Posted September 18, 2003 Share Posted September 18, 2003 I've gotten pretty good results using just three mics... a Beta 52 on the kick, Audix D1 on the snare, and a Studio Projects C1 large diaphragm condenser as an overhead placed out in front of the kit. Good mic placement is the key. If you can accomplish that, you're half way home. I must have gotten lucky because half the time I don't know what the f*ck I'm doing! Link to comment Share on other sites More sharing options...
where02190 Posted September 21, 2003 Share Posted September 21, 2003 Typically traditional jazz drums are mics wirth minimal mics, overheads, either stereo or mono, a room mic and maybe kick and very maybe snare. I generally use a Shure VP-88 stereo mic for overheads and a rode NTK or AKG C4000B(in omni mode) for room mic. The stereo overhead is about 2-3 feet over the drummers head, even with the front of his face, centered on the kit and pointing straight down. The room mic is approx 2/3 way from the wall behind the drummer to the opposite wall, at about chest height to the player. A drumset is not a collection of individual instruments, it is one big instrument. partiularly for Jazz, treating it this way will yield superior results IMHO. You will capture the essence of the interaction between the various overtones within the environment, which is really the big picture. Hope this is helpful. NP Recording Studios Analog approach to digital recording. Link to comment Share on other sites More sharing options...
henryrobinett Posted September 21, 2003 Share Posted September 21, 2003 Ditto all the above except I still love to have a few close mics in place when you can afford to have them. I only record jazz, pretty much. I let the overheads speak for the set, but I still like to have the option of bringing in the toms if they just seem to be too far away. I never put a mic on the hat. I get more than enough in the overheads and snare mics. That's just me. I'm not saying I'm right and others are wrong. But I've recorded some great drummers this way and nobody has ever complained. My typical set up: OH: VP88 mainly, sometimes Royer 121s or 414s always stereo. Kick - D112 Sometimes I like a mic on beater side as well. Normally it's a 121 sometimes 421 or 57. Snare - 57 Toms - Beta56 All the best, Henry Robinett Link to comment Share on other sites More sharing options...
marsmgr1 Posted September 21, 2003 Share Posted September 21, 2003 Without knowing the "caliber" of drummer you're dealing with, a technique I've used many time with jazz drummers is to use "overheads" placed behind (yes, behind) the drummer's head...About 8"-14" behind him and about 18"-24" above his head aimed down toward the drums...This will give you HIS perception of the sound...I usually use a Coles 4038 stereo pair for this... I also use a snare mic (sometimes top and bottom), spaced far enough on top to capture the hat, as well... I will always use a kick mic (just to be sure), usually an EV RE20 or an AKG D112 and a couple of tom mics if the tune features excessive tom work...Anything from SM57's to KM184's or 185's depending on availability...(It's always GOOD to have that mixing flexibility, although most of the time your overheads and kick mic will be sufficient with a good jazz drummer...) Hope this helps! Chris - "Been there, Done that" Link to comment Share on other sites More sharing options...
where02190 Posted September 21, 2003 Share Posted September 21, 2003 Originally posted by marsmgr1: use "overheads" placed behind (yes, behind) the drummer's head...About 8"-14" behind him and about 18"-24" above his head aimed down toward the drums...Exactly the same theory behind my placement of the VP-88...just out of stick range. Hey Henry, nice to see another VP user here. If you liek the Beta 56's, check out the Sennheiser e609 silver series, killer tom mics, especially at $99 each. They are awesome on electric guitar, and my first choice on trumpet. If it's traditional "Blue Note" style jazz, it's usually done competely live, and you know what you need, since what you hear is what you get. My primary approach is always less is more. YMMV. Hope this is helpful. NP Recording Studios Analog approach to digital recording. Link to comment Share on other sites More sharing options...
henryrobinett Posted September 22, 2003 Share Posted September 22, 2003 I know what you mean re less is more, but I also hate at mix time not having the option if I'm not getting enough body on the toms. Absolutely right that the instrument is one instrument rather than a collection of disjointed boxes approach. Finding the space and putting it there both in terms of recording it and placing it image-wise at mix time. BTW I also hang the VP88 behind the drummer and point it down. I'l have to try those sennheisers out. Always in the market to check out a great cheap mic. All the best, Henry Robinett Link to comment Share on other sites More sharing options...
where02190 Posted September 22, 2003 Share Posted September 22, 2003 Hey Henry, ever use that VP-88 on piano??? it is fantastic!!!!!! e609 silver series is a re-remake of their original 409's, and very very close to the originals. Hope this is helpful. NP Recording Studios Analog approach to digital recording. Link to comment Share on other sites More sharing options...
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