Handbook for Sound Engineers

Microphones 585

Just as the musician is a vital element in obtaining a
good sound, the drums themselves must be in good
condition and properly tuned to obtain their best sound.
The type of drum head used will have a major effect on
the sound.

Micing Each Drum. A micing arrangement that is
almost standardized requires the use of one microphone
on each drum, Fig. 16-176. In addition, one or more
microphones may be suspended over the drum set to
pick up either an overall sound or primarily cymbals.
How closely each microphone is placed depends on
several factors: how tight a sound is required, which in
turn is related to the relative liveness and character of
the room; what isolation problems might exist, in terms
of various drums leaking into other drum microphones
and leakage from other instruments in the room; how
dangerous it may be to place an expensive and fragile
microphone in a position of possible destruction by an
overly enthusiastic or inaccurate drummer; and whether
the microphone and/or console can take the level
produced without distortion.

Above versus Underneath Micing. Individual drums
can be miced either from above or below, Fig. 16-177.
The two positions will usually have vastly different
sounds. If the sound is appropriate, the underneath posi-
tion may be preferable if isolation is a problem.

When miced from above, microphones are
commonly positioned at an angle to the drum head and
near the edge of the drum. Seemingly minor changes in
position can have a major effect on the sound, espe-
cially with some microphones.

Bass Drum. For recording, bass drums usually have
only the beaten head, which is not to say that bass
drums with both heads cannot be recorded, however.
For some music, the use of both heads is preferable. In
the single-head configuration, the usual microphone
placement is within the shell of the drum, with the
microphone aimed toward the beater, Fig. 16-178.
Experimentation is required, however. Closer or farther
distances, off-axis microphone positions, or even place-
ment on the opposite side of the head may result in the
desired sound.

To m - To m M i c i n g. Tom-toms, too, often use only the
top head. This facilitates underneath micing. In micing
any drum, it is probable that simultaneous top and
bottom micing will result in difficulty due to phase
discrepancies. The use of phase-reversal switches at the
board and minor position adjustment may be required.

Cymbals. The high hat and cymbals can be mic’ed

from above or below, but the above position is more

commonly used. Overhead microphones are often posi-

tioned above the entire drum set, usually as a stereo

pair. How high they are set will depend on the effect

desired; a relatively high placement will provide more

of an overall drum sound, with more room characteris-

tics than a closer position.

It is not unusual to pick up sufficient cymbals, or

even excessive cymbals, from just the other drum

Figure 16-176. Close drum micing (detail).

High-hat cymbal

Floor

tom-tom

Snare

Bass

drum

Crash or

ride cymbal

A. Side view.

Cymbal Floor tom-tom

Tom-tom

Bass drum

Tom-tom

Cymbal Snare High-hat cymbal

B. Top view.