MusicRadar

Tom's are best captured using dynamic mics, but you can always use an overhead too.

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In this tutorial, we show you how to capture the drum kit, the backbone of most tracks.

What do we need to know about drums before we start? Well, they're very, very loud, so we'll need to think carefully about where to record them and what types of microphones to use. Mic-wise, drums aren't too picky, and a couple of decent dynamics will give you acceptable results at first.

The overheads

The central hub of any drum recording setup is the overhead mics. Placed above the whole kit, one or two mics can be enough to do a pretty good job alone, and at the very least will form the main basis. Ideally, you want some kind of large-diaphragm condensers at work here for full effect. Placement is everything, and don't worry about keeping them symmetrical on any axis. Start with the mics about two to three metres off the floor and then move them around to get the best balance you can. This is trial and error, but remember that while cymbals throw their sound all over the place, hi-hat sound radiates horizontally. If your space doesn't allow for such high placement, try a couple of cardioid condensers placed over each half of the kit. Keep your headphones on and monitor the results carefully - and don't even think about mic'ing any other drums until you've got this bit nailed.

The kick

Kicks drums almost always benefit from a close microphone, and because of their extreme sound-pressure levels (and proximity to feet) the mic you're using needs to be quite robust. If you're serious about your drum recordings, it makes sense to go out and buy a dedicated kick drum mic. They're almost always dynamic, so the ubiquitous Shure SM58 is ideal. Make sure you clearly label your kick microphone, whatever it is, as it will wear out quicker than most, and you don't want to subject any others to the same kind of damage.

In terms of placement, get your microphone as close to the drum surface as possible - if you're getting too much resonance or rattle, a pillow or something similar placed inside the kick drum will help stop this. Start with the microphone half-way between the kick head and the edge of the drum, but be sure to experiment, and don't touch the EQ until you're sure you have the best placement possible, as even the smallest of changes can totally transform the sound.

Snare drums

You can go down the condenser or dynamic route with the snare, but since it'll be within drumstick distance, we'd recommend a robust dynamic pencil mic, such as Shure's SM57. Dynamics also impart a natural limiting effect, as they're slower to respond to transients.

Placement-wise, you want it pointing slightly down, away from the hi-hats and the rush of air they produce. Also, try to have it quite near the outer edge of the batter head. For added snare rattle, place it underneath, or even have one mic above and another below (be sure to invert the phase of one, though, as they'll be picking up opposite pressure waves). Whether or not to choose a mic with a cardioid or hyper-cardioid pickup pattern is up to you. The former provides a fuller sound, but the latter will be cleaner and more isolated - play to the strengths of your setup.

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