Recording Methods

Bass drum - Bass drums require a dynamic microphone that is particularly responsive to low frequencies. The benefit of using dynamic microphones is that they are able to withstand loud noises up close and are durable in this respect. They tend to have a cardioid pickup pattern, meaning that they record in one direction. This reduces the amount of bleed from sources that are behind the microphone. If the mic for the kick drum is positioned partially inside the hole then this further reduces bleed. Typical mics for kick drums include: AKG D112, Audix D6.

Tom-toms - A Shure SM57 or SM58 would work well for tom-toms. They are both dynamic mics, meaning they can withstand high sound pressure, and they are also versatile. The SM58 is widely regarded as a good choice for live performance vocal mics. This is not only due to their sturdy casing, but also from their ability to accurately and clearly record sounds. Mics may be positioned directly above drums by either using mic stands or clip-ons to give a much closer sound.

Snare drum - A Shure SM57 is regarded as a good choice for recording snare drums. Their small frame allows more options in terms of positioning and their clarity means that the snare will be easily distinguishable within the mix. Snares are often recorded from above and below, using two separate microphones. By angling both at 45 degrees towards the centre of the skin on either side, the combination of the two pick up the sound of the initial strike and he decay produced beneath the drum. The sharp tone produced by the metal strip hitting the bottom skin will also be more prominent if there is a mic beneath it. The benefit of using two microphones for one drum is an increase in choices at the mixing stage. Both tracks can be individually manipulated or simply deleted if they are considered unnecessary.

Hi-hat - Due to its higher frequencies, hi-hats may require a condenser microphone. Condensers tend to be more fragile than dynamic mics and therefore cannot withstand as much sound pressure. They are, however, more responsive with a wider range of frequencies. They are also generally more expensive than dynamic microphones. They suit situations that involve picking up rich timbres that include a range of frequencies and also require phantom power to be switched on on the interface in order for them to function. Although it is subjective, the commonly regarded best way of recording a hi-hat is to position the microphone pointing down at the cymbal. This means that bleed from the rest of the kit is minimised.

Polar Patterns
There are a variety of polar patterns amongst the vast choice of microphones. These include:

Cardioid - This pattern has a range of 131 degrees. This means that it can be used for multiple vocalists, or other sound sources, provided they aren't directly behind the microphone. These mics tend to completely omit sound from directly behind. However, this doesn't mean that they won't pick up the sound bouncing back off a wall that is within the microphone's range so it is still best to minimise unnecessary sound sources.

Omnidirectional - This pattern receives signals from all angles. It has a 360 degree field and is usually placed directly in the middle of surrounding sound sources. This would be a good choice of microphone for church choirs, where sound is coming from every side of the room. Omnidirectional microphones often hang down from a ceiling so that they are in prime unbiased position height-wise.

Bidirectional (Figure of 8) - This pattern picks sound up equally from the front and the back. It doesn't pick up sound directly from the sides though. It has a very narrow pickup angle which means that it can be used effectively whilst isolating sounds sources in groups. For example, as long as there was no sound from directly behind, this would be a good choice for recording a single instruments in a row of instruments on stage. This allows for more individual sound control. This is also a good choice for recording two singers who are facing each other. It is effective at eliminating  sound sources from different angles.

Glyn Johns Technique
Glyn Johns is a studio engineer who is most famous for devising an innovative method of recording drums (most notably John Bonham's drum sound on Led Zeppelin by Led Zeppelin). The method involves three microphones: a dynamic kick drum mic and two overhead condensers. The overhead condensers would be positioned both pointing toward and both equidistant from the snare drum. One of them would be about 40 inches above the snare, pointing directly downwards. The other would be to the right hand side of the drummer and about 6 inches above the top of the floor tom.

At college, we recreated this method by recording a drummer with two M3 small diaphragm condenser mics and an AKG D112 dynamic for the kick drum. We asked him to play a variety of beats within two minutes to test the diversity of the method. The end result was pleasing; the overhead condensers provided a sufficient range of frequencies and their positioning allowed the whole of the kit to be heard clearly. We positioned the kick drum mic about 3 inches inside the drum which produced a suitable punchy sound.

2 channel recording
At college we recorded a 3-piece jam with 6 microphones on just 2 channels as a demonstration of a technical restriction. The microphones we used were:

Kick drum - AKG D112 dynamic
Drum overheads - 2 Rode M3 pencil condensers
Guitar amp - Shure SM57 dynamic
Room - Rode NT-1 consender
Bass amp - AKG D112 dynamic

We grouped the three drum mics in one channel and the room, bass and guitar mics in the other channel. This meant that we could mix the drums separately from everything else. There was bleed in each microphone but the majority of the sound from each instrument was picked up by its corresponding microphone/microphones.

I think the sound of this experiment came out well. Each instrument is easily audible and distinguishable and there are a wide range of frequencies thanks to the Rode NT-1 and Rode M3s.

Drum recording
As well as using the Glyn Johns technique, we also tried maximising the amount of microphones used and assigned them each to their own individual channel. Although this technique allows for more control and options in the mixing stage, due to the singular allocation of each mic, I thought that compared to the Glyn Johns technique, this amount of microphones is unnecessary for the drums. The sound of the Glyn Johns technique, I think, is sufficient and effective in recording drums. Overcrowding the drums with microphones can not only get in the way of the drummer, but also requires extra wiring and meticulous mixing. I would prefer using the Glyn Johns technique and mixing just three channels of drums: a kick and two overheads. This technique is effective at capturing the overall sound of the kit.

2 overhead pencil condensers (panned left and right)
3 SM57 dynamic:
1 at 45 degrees pointing towards the centre of the snare from above
1 at 45 degrees pointing towards the centre of the snare from below
1 pointing at the edge of the hi-hat from above
AKG D112 3 inches inside the kick drum
3 dynamic microphones - 1 clipped onto each tom tom


The link below includes a number of experimental records, each with a description of the process.

HND Year 2 Recordings