I'm working on an LP right now where the kick was an RE20 inside and an LDC outside. Steve Churchyard and Steve Marcantonio are pretty much on the same page again with "just outside" and "four to 10 inches away from the hole" respectively, whereas Robbie Adams went out to about 18 inches for U2's Zooropa. Rascal Flatts: Still Feels Good; Faith Hill: Fireflies; Keith Urban: Keith Urban; Brooks & Dunn: Hillbilly Deluxe; Kenny Chesney: The Road & The Radio; Tim McGraw: Not A Moment Too Soon; George Strait: Carrying Your Love With Me, Lead On. It works surprising well, and would work fine with an RE20. The mic will handle a maximum SPL of 147dB for 0.5 percent distortion, another good reason to go for it in this application over the valve version, which manages just 120dB. Go. The RE20 IMO is not as sensitive to placement … Important as it is to get the sound right at source, the main focus of this article is on how to translate that sound into recorded form. If I need a sub freq, then I'll add a gated sine wave generator at about 10-20 Hz ish. Both models are technically identical, but the D25 is built into a rather groovy-looking elasticated shockmount. If possible, use a mic specifically for kick drum — try an AKG D112, a Shure Beta52, or a mic that has a frequency response which favors bass tones, such as an Electro-Voice RE20, or a Sennheiser MD421. In this context, the predominant studio tool for manipulating snare and kick sounds while recording is the close mic. There are three main positions to place a mic on a kick drum: Outside the drum, facing the resonant head; You will want to keep it away from the rim of the drum, and the closer to the center you get, the more sustain the mic will pick up. The amount of spill from other instruments also increases with distance, and many producers baffle the mic stands and kick drum with blankets to reduce this, so we created the 'KickDistanceBlankets' files to show how much of a difference this can make. On account of its 100Hz low-frequency roll-off and hefty 5-8kHz sensitivity peak, it is in practice often used in combination with another, bassier mic (such as the D12/D112), although Henderson has used it on its own too. Steely Dan: Aja, Gaucho, Two Against Nature; Donald Fagan: Nightfly; Billy Joel: Songs In The Attic; Fleetwood Mac: The Dance; Roy Orbison, Black And White Night; John Fogerty: Premonition; Van Morrison: Moondance. Jimi Hendrix: Are You Experienced?, Axis Bold As Love, Electric Ladyland, Band Of Gypsys, The Cry Of Love; Led Zeppelin: Led Zeppelin II; Kiss: Alive!, Alive II; Peter Frampton: Frampton Comes Alive!. When discussing his recordings for The Darkness, Roy Thomas Baker also stresses how the type of music dictates the target sound: "You're going for a sound that's appropriate for the song, not necessarily what's a good sound, and what's appropriate can vary greatly... That's why we had three drum kits and a multitude of different snare drums and tom-toms. It may be because small placement tweaks make such a big difference that few producers give any exact indication of where they place mics inside the kick. The projects are Melvin Jones - Pivot - Turnaround Records and TOKU - A Tribute to Stevie Wonder - Sony Japan if you want to have a listen. Any record by Chic; Sister Sledge: We Are Family; Diana Ross: Diana; David Bowie: Let's Dance, Black Tie White Noise; Madonna: Like A Virgin. However, there is one discernible trend in the way the sound changes that's worth bearing in mind: you'll get more beater presence when you're miking close to the batter head and more tone as you move the mic further away. Here you can see the recording setup for the 'KickHeadOffMid' audio files, demonstrating the sounds of different mics and mic positions inside the kick drum. However, this rugged little mic is also the most commonly-cited choice for snare drum: a list of users includes such audio luminaries as Steve Churchyard, Bob Clearmountain, Mike Hedges, John Leckie, Elliot Scheiner, Stephen Street, Bill Szymczyk, Chris Thomas and Tony Visconti, to name only a few — and at least half a dozen of them are happy to use SM57s for both the drum heads. You should only be using dynamic microphones inside the drum. I have it sitting WAY off … While listening to the individual mic positions solo is interesting in its own right, it's difficult to really evaluate their effectiveness in practice without hearing them mixed in with the overhead mics (as they would normally be during mixdown). Tried & Tested Techniques From 50 Top Producers. However, drum-miking is long on options, whereas most studio musicians are short on session time and don't have the luxury of comparing lots of setups while the band are breathing down their neck! This picture shows the six classic kick-drum mics we compared in the 'KickMics' audio examples. The tone of the kick drum changes dramatically as you move away from the batter head, so we recorded five AKG D112s at different distances to demonstrate this, generating the 'KickDistance' file sets. Lots of resonance? One factor that needs extra thought with the kick drum is what to do about the resonant head: leave it on, take it off, or use one with a mic-access hole in it? I like running the d112 thru a chandler germanium and a distressor. Nirvana: Nevermind; Smashing Pumpkins: Siamese Dream, Gish; Garbage: Garbage, Version 2.0, Beautifulgarbage, Bleed Like Me; Sonic Youth: Experimental Jet Set Trash & No Star, Dirty. Chris Fogel has applied a similar approach with kick drum. Those are the cats that definitely need the hole. I will say this though, The Re-20 is a good choice for kick mic when paired with something woofier like a LDC or subkick. You kind of have to scoop it yourself, or if you want that punchy jazzy sounds, you don't have to. Santana: Supernatural, Caravanserai, Borboletta, Moonflower; The Rolling Stones: Their Satanic Majesties Request; Jimi Hendrix: Electric Ladyland; Janis Joplin: Pearl. Supertramp: Even In The Quietest Moments, Breakfast In America, Famous Last Words; Frank Zappa: Sheik Yerbouti; Paul McCartney: Tripping The Live Fantastic, Flowers In The Dirt; Jeff Beck: Wired; Rush: Grace Under Pressure. Other than the SM57, two other mics, both small-diaphragm condensers, also stand out as leaders of the pack: AKG's C451EB and Neumann's KM84. In fact, in some cases I didn't have to EQ the drums at all." The inside mic is EQ'd to emphasize the high mids of the beater "click" with a slow attack compressor to let the transients pass through. To avoid an avalanche of parentheses, I've listed all of them in separate boxes throughout this article, together with a handful of their most relevant credits for reference. With an unperforated resonant head in place you tend to get the most resonant sound, and if you mic at the usual frontal position you won't get any real beater definition (because the mic can't see the kick pedal) and you'll pick up quite a bit of spill from the rest of the kit. EQ 4 DAYZ BRO - Actually nah, just a gentle mid scoop so you can fit your vox and guitars and shit in there. To me, it's the complete opposite of the Audix D6. For this reason, most engineers have highly developed personal preferences here. Steve Albini elaborates a little: "It's hard to describe where I place [the mics] and it varies a lot. I kicked an RE20 once and hurt my toe.Sounded great! All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. There are also two interesting panel discussions where several of the featured producers discuss their trade head to head. It'll get a relatively natural and unhyped sound that might not work on its own in the context of rock or pop. Thin Lizzy: Renegades, Thunder & Lightening; Ozzy Osbourne: Blizzard Of Oz; Judas Priest: Painkiller; Black Sabbath: The Eternal Idol; Gary Moore: Back On The Streets, The Power Of The Blues, Back To The Blues. By playing games with the various qualities of each, I get the sound I'm after. This means that you can freely substitute different internal mic positions to see how they combine with either of the external mic positions. 1 of 2 Go to page. By way of contrast, though, Bruce Botnick regularly used the under-snare position on its own, combining this with just overhead and kick mics to provide a complete drum sound. When it comes to describing in interview how they record drums, top producers seem to spend more time discussing techniques for snare drum and bass drum than anything else.