Reverb.com
Phase-checking close mics against overheads
Noam Wallenberg discusses using AKG 414 microphones for recording toms, highlighting the importance of phase alignment between tom mics and overheads to achieve a fuller, more impactful sound. He emphasizes that phase relationships for toms can be somewhat unpredictable, as even slight microphone adjustments can alter the phase. Wallenberg advises always checking phase alignment in mono with equal levels between the tom and the overhead, flipping the phase on the tom mic to determine which setting provides more low end and presence. This approach works the same way with other close mics like kick or snare, which is why it's a good practice to keep the overheads as the common phase reference. Getting the phase relationship to the overheads right will bring the toms forward, making them sound fuller and more upfront in the mix.
Audiofanzine
Multi-miking the kick for weight and punch
George Massenburg explores optimizing kick drum sounds through multi-miking and phase adjustment techniques, using the Audix D6 and U47 FET microphones. He highlights the importance of mic placement and phase relationships, noting that the Audix D6 provides snap and punch, while the U47 FET adds size and weight to the low end. By adjusting the U47 FET's distance from the kick drum, Massenburg achieves a desirable phase cancellation that enhances the drum's heft. While phase alignment can be fine-tuned post-recording in a DAW by adjusting time delays between the two mics, Massenburg prefers to achieve this during the recording process. This ensures a powerful and well-defined low end right from the start.
Reverb.com
Miking a snare from the side to push the midrange
Noam Wallenberg introduces a unique miking technique to achieve a throatier, more mid-range focused snare sound by placing a Shure SM57 on the side of the snare drum. This method bypasses the usual brittle high frequencies captured by traditional under-snare miking, instead highlighting the "throaty" midrange frequencies between 600-1.5kHz. However, be mindful that this placement also picks up a wider array of sounds, including bleed from the hi-hats and kick drum.
Reverb.com
Using a snare side mic for presence and character
Tame Impala's distinctive snare sound is achieved using an unconventional microphone setup, featuring a Sennheiser MD421 on the top and a Shure SM58 on the side of the snare. This unique placement enhances the snare's presence and character, providing a vintage feel by capturing more of the shell's resonance. Instead of the typical top and bottom mic configuration, the side mic approach allows for more sustain and a looser snare strainer setting, adding to the snare's sizzle. This technique is complemented by a mono overhead mic, strategically placed over the floor tom to balance the capture of the hi-hat and rack tom sounds. Kevin Parker's approach demonstrates that achieving a professional drum sound doesn't require a high-end studio. With creativity and strategic mic placement, you can replicate this sound even in a modest setting, using just four microphones.
Apogee
Creating unique sounds with contact mics and speakers as mics
Shawn Everett explores the idea of exclusively using contact mics and speakers for the recording of the song "Blurred View" from Big Thief, bypassing traditional microphones to craft a distinctive sonic palette. This approach allows him to capture unique, organic sounds that emphasize emotion and creativity. During the recording sessions, Shawn mixes live, ensuring that the rough mix at the end of each day is album-ready. This workflow requires him to adapt his mixing techniques on the fly, maintaining a focus on emotion and immediacy. Shawn employs unconventional methods, such as using a rewired speaker as a contact mic on a kick drum, to achieve unusual textures. He also creatively repurposes old Apple headphones as contact mics for guitar amps, demonstrating his innovative approach to sound capture. For vocals, Shawn tapes headphones to the singer's throat, resulting in a lo-fi vocal sound that adds a unique character to the track.
Reverb.com
Getting that dry 70s drum sound with close miking
Noam Wallenberg and Jessica Burdeaux demonstrate how to achieve a dry 70s drum sound using close miking and dampening techniques, inspired by Fleetwood Mac. By distancing the snare and hi-hat, Wallenberg minimizes crosstalk, while close miking with specific microphones like the AKG 414 on the snare and RE20 on the kick captures a focused, punchy sound. The overheads, captured with AKG 451s, are heavily filtered to emphasize cymbals without adding weight, maintaining clarity and separation. Tape saturation is used for dynamic control instead of compression, adding warmth and character. An EMT 140 plate reverb subtly enhances the overall ambience, excluding the kick drum, to maintain the dry, vintage vibe.