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HCMS Drum - Tracking

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lderoo
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56 views

HCMS Drum - Tracking

Uploaded by

lderoo
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Instrument Tips

• Use fresh heads. Recommended drum heads: Remo Coated Controlled


Sound (snare), Remo Pinstripe Clear (toms), Remo Ambassador, Remo Power
stroke with Impact Patch (kick).

• Avoid large and deep kick drums for more control over low-end.

• Use metal snares for bright attack and bite; wood snares are darker and
warmer.

• Snares 6” or deeper for fuller body and low-end punch (i.e. Black Beauty)

• Use smaller cymbals for bright, focused sound (i.e. < 20” crashes). Larger
cymbals are less defined on the attack and more washy in the mix.
Tuning Tips
Kick:
Both heads tuned very loose for a bright attack and deep low end.

Snare:
Both head tuned fairly tight. Try bottom head looser for more low-end
or both heads lower for a deep thud sound. Moongels placed around
the end of the snare can eliminate nasty ring, but don’t over-deaden
the snare.

Toms:
Tune the bottom head higher and the top head as low as possible
for a bright impact, fat low end and minimal resonance.

With all drums, tune the bottom head first.


Aim for equal pitch at each lug (top and bottom)
Go TO Mics & Positions
Kick:
• D112 inside the drum, halfway between the beater and resonant head,
pointing slightly off-center.
• Move away from beater for more low-end; closer for more impact
and less ‘mud’
• Subkick placed outside the resonant head (~2” away) can add low-end
‘woof.’ Not necessary for technical metal drums but useful in simpler
rock arrangements.

Snare:
• SM57 on top and bottom.
• Top mic: 1-2” above the drum and ~1” inside the rim aimed at the center
• Bottom mic: Mirror top mic but place 4-6” away from the head
• Position mics to minimize bleed (point away from cymbals & hi-hat)

Toms:
• e604 or similar dynamic mic
• Top mic: 1-2” above the drum and ~1” inside the rim aimed at the center
• Position mics to minimize bleed (point away from cymbals & hi-hat)
Mic Positions cont.
Overheads:
• C451b or similar small diaphragm condensers
• 1-2 feet above cymbals in a spaced pair, aimed at the edge of the cymbal.
Will lack shimmer and sound unnatural if miked too closely or towards .
the middle of the cymbal.
• Place mics equal distance from the center of the snare
(Use a measuring tape).
• Use a 3rd and 4th mic if available for hi-hats and chinas (try to use
one mic per 2 cymbals).
• Think of overhead mics and cymbal mics, not ‘whole kit’ mics and
position accordingly.

Rooms:
• Pair of large-diaphragm condensers
• 5-20 feet away from the kit (depending on room size), aimed at the
kit in a spaced pair 3-10 feet apart
• In small rooms, look for unique spots instead of traditional positions
(in a closet, behind a door, in a hallway, etc.)
• If available, add a 3rd mono room mic with significantly different
character (Ribbon mic or a condenser in a unique spot through a dirty
signal chain)
Tracking Workflow
• Capture large sections or entire takes

• Comp from the 2-3 best takes and punch-in from there

• Listen for timing and dynamics. Watch for drummers playing weaker
as session goes on

• Make sure cymbals sound consistent at punch-ins

• Edit drums before moving on to guitars/bass.

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