http://www.teamrisk.com/drum-mic/
Drum Microphone problems, we can help with EQ / setup?
I recently bought the DR-reference digital DRM7 7 Piece Drum Microphone Kit for Guitar Center. In general, they work quite well, but the snare and Bass Drum seem to resonate long term. They have great attack, but sustain a tone undesirable. The microphone trap is placed at the top of the rim, and cut the microphone on a Table Top stand with the microphone just inside the drum. I do not think the position is the cause but have not had time to move a lot. Any tips for the equalizer that could help make only my drums sound better is useful. Thank you require any additional information that required. "On the budget could not choose the 52 or Beta 57 or AKG D112
Well, my first thought is perhaps only need to cushion the fall and a trap … put a pillow or a sweater, something inside of the Kick Drum itself, and either get one of those rings cushion or tighten tie down (I'm not a drummer, I'm not sure exactly what to call it). Sustain is not something that I think is a problem with the Microphone Set himself … but there could be a proximity effect of having the mics too close. Try backing up the Kick Mic a few inches and see what he does. Definitely I would try to take the microphone trap of the trap and put on a pedestal … maybe there is some vibration in the micro itself? If you play in hot, must microphones provide more space, that's a definite. Yo, I'm not wild about the use of a large number of microphones. In fact, the less the better, in my mind. Give me two overheads and a microphone into the trap and I'm pretty happy …. but then again, I use a drum trigger to mix a plugin shows a lack of pre-recorded back in the mix, track is given a solid shot, very important, especially if the drum is not hitting the kick the same amount consistently. So two of the head, kicking, and a microphone on the snare and hi-hat may give a little more control? I can not see more than that …. Hmmm. EQ and other things for the drums can be tricky. The rule very general is that all the instruments in the mix should be highpass, lowpass, and often have a piece cut of midrange muddy if you add too much Topic (guitars are known for this, for example). So to run a high pass I throw between 50 and 70 hz. There is not much profit to go below 50 hz, except to eat up. Most people do not have sound systems capable of accurately reproduce that low, so it's not useful. Superior high pass lowers your processor, but That is not always a bad thing – gives you more space under power. I step under some khz between 4 and 7. A kick-middle frequencies are between 300 and 600 Hz, in general, and you want to resume a frequency mixer, which is between 1.5 to 3 kHz. This will help to show lack of fit of the many. Toms should be between 90-150 Hz highpass and lowpass as well as the kick. Its area of mud is a little larger than the kick, but it depends on the amount of heat that we want as well – 300 and 800 hz. All dishes are highpass between 800 Hz and 1.5 kHz. The exact frequency depends on the dish. The lower frequencies where there is "Rumble" is, what is bad for walks, but for everything else they want more "sizzle" than "noise." Low pass at home, but somewhere around 15 kHz is a good place to start. Boosting around 7-10k increase the air and "Ting" Snares. are difficult because they are basically controlled noise. A good place to start is highpassing around lowpassing 600 Hz and about 6 kHz. Even more important than EQ is compression, though! Drums really deserve much attention, compression-wise. A multiband compression can be done in the mixing Drum Set, or you can compress cymbals, kick, catch and separately. Or both. Kick and snare more benefit proportions greater than 4:1, I think, while smaller proportions dishes need (1.5:1 to 2:1, perhaps). Ideally, you do not want to crush too … you should take at least a few dB off, but certainly not more than 6-10dB of the signal. Hmm. That is all I can think of the top of my head. Um, I think just supposed to import it into your computer, if analog is doing all this will be much, much more difficult … Well, anyway, good luck! You can send email through my profile if you have more specific questions, I will be happy to help! Saul
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Sounds to Use When Making a Beat
Want to record some beats and produce music? Well, in today’s lesson I want to cover some of the finer details You Need to consider when recording and producing beats! Recording beats is a tough task to accomplish at home primarily because it involves recording more than one instrument in the drum kit. A drum kit consists of so many varied instruments that it can produce a huge range of sounds covering the entire audio spectrum, from the soft sound of brushes to the loud beat of a bass drum. In terms of recording, you have to consider recording beats as recording several instruments and would be using multiple mics to capture the whole gamut of sounds. If you are using multiple mics, you would also need multiple inputs to record separate tracks. Though it is tough to record beats, it is important to get it right as a good beat is the heart and soul of groovy music. Let us now look at how you can go about recording the various instruments to get groovy beats:
Snare Drum
Good snare sounds are essential for a good beat. You should ideally place a mic a little above front edge of the drum facing downwards at a 45 to 65 degree angle. You can move the mic further away from the drum head to get a little less low end sound. Make sure that you are not getting a “bleed through” from the high hat or cymbals. If you record the snares separately, it will be easy to EQ them at the mixing stage. Before you start recording, listen through headphones to make sure that the snares are sounding right. If you hear a ringing sound, cover the top head of the drum with tape to cut down on the ring.
Bass Drum
To record the bass drum, you should use a mic made to record low end frequencies. You can try placing the mic halfway inside the drum and muffle ringing sound with a pillow inside the drum. Again, keep listening through the headphones to make adjustments. The mic should be pointed towards the beater and away from the snare drum.
Toms
Recording toms also requires a good bass mic that can record low frequencies. You can place the mic a few inches above the outer rim of the drum. You can experiment with the distance to get the sound you want, the further the mic from the source, the more roomy the sound. You can point the mic downwards at a 40 to 60 degree angle and away from the audience. To give a flowing feel to the drums, you can try panning the toms on the left to the left side of the mix and those on the right to the right side.
Cymbals
It is tough to record cymbals in a Home Studio. You have to record them in stereo with two mics, one over the left cymbal and one over the right cymbal. You should use mics of High Quality. If you have only one mic, then you should place it in the center. You should ideally place the two mics quite far apart, roughly about three times their distance from the cymbals. It works out fine if you place the mic not too far from the cymbal.
Room mics
If you are getting good sounds in the your room, you can try capturing them with a room mic. You will have to experiment to find out the best place to set it up. You can place it in one of the room corners, in front or behind the drum kit. Just make sure that it is quite far from the drum kit, or you will end up with phasing problems. One more tip to keep in mind while recording beats is that since you are recording a range of sounds, make sure you don’t record too hot or you will end up overloading your preamp and causing digital distortion!
Visit this website for more information – http://www.musicproducerpro.net
Good Luck
Jay Bailey
About the Author
I am a music producer
