queef bag wrote:
bob olhsson wrote:
Every additional mike castrates the drums more.
+1 single omni over head (two cardioids or figure 8s if ya need stereo) and a kick mic. done. minimal phase cancelation.
then too often, we add 7 to 14 more mics 'just to be safe', then use all but one or two in the mix, feeling smug because we knew better than to use all of them.
O.K. it's really case sensitive, dependent on drums, drummer, room, and the sound one is going for.
one school of thought is get most of your sound of the kit from your over heads and/or rooms, then add close mics as needed.
in this case, the overheads would be less just cymble mics and more a mic or (possibly stereo) pair looking at the whole kit.
a little compression can make everything quite present. maybe i should say a good drummer can make everything incredibly present.
Sure, but ultimately a good drummer cannot make the sound of a close mic'd tom unless the tom is close mic'd. It's a cool sound and a choice. I wouldn't do it because I had a shitty drummer, nothing can help that, I'd do it because I wanted that sound. Really it comes down to doing things for a REASON, and how you prefer to mic your drums has to be tempered by everything else that is going on in the room.