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
Balance kick and snare with strategic overhead placement
George Massenburg emphasizes the importance of overhead microphone placement in achieving a balanced, full-bodied stereo image for drum recordings. He advocates for positioning the overheads equidistant from the kick and snare to ensure a strong center image, which is crucial for many genres. To achieve this, Massenburg suggests visualizing a line running through the kick and snare, with the overhead microphones positioned perpendicular, or at a 90-degree angle, to this line. This setup ensures that the overheads capture a balanced stereo image, promoting a cohesive and dynamic drum sound. Massenburg critiques the common practice of placing overheads directly over cymbals, suggesting that this approach often leads to an unbalanced mix. Instead, he advises engineers to rely on their ears rather than visual intuition, adjusting the mics in the control room to achieve the desired sound. He highlights the technique popularized by Bill Schnee, which involves using the overheads to capture the full size and air of the drum kit, complementing close mics that focus on attack.
Reverb.com
Add character with aggressive overhead processing
Noam Wallenberg demonstrates the Glyn Johns technique combined with aggressive processing to craft characterful drum overheads. He uses the Schoeps V4 U over the kit and the Shure SM57 from the side of the drums. Both microphones are sculpted with EQ to add body and remove sub frequencies, creating space for the kick drum. Distortion is applied using a Decapitator from Soundtoys and Satin from u-he, adding crunch and smoothing transients, while parallel compression with the Soundtoys Devil-Loc Deluxe enhances weight and sustain. The use of mismatched microphones and varied processing on each side creates a distinctive stereo image, with intentional differences in distortion levels contributing to dynamic panning effects. This approach, inspired by Tchad Blake's mixing style, results in a drum sound that is both vibrant and full of character.