In this week’s Audio Premium content, Mike Elliott begins a new drum recording series on overhead mics. In Part 1 we have a detailed look at how to mic toms and cymbals.
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From an engineer’s point of a view the overheads could arguably be the most important part of the drum kit to get right. Why? Because we when in doubt it will give you the most natural (or unnatural) representation of the drum set in which you can build your drum mixes off of. Now of course it is common place to give each tom its own mic, but the principles for close micing a tom are the same as the snare hence why the toms do not get their own tutorial.
So why overheads? Most home studio enthusiasts have less than ideal room acoustics, mic selection, etc. and will need all the tricks they can get in order to get the best overhead sound possible. That is where this tutorial series comes in! In this first tutorial we will examine the toms and cymbals from an instrumental standpoint and how they function musically and acoustically so we can have a better idea of how to record them. In the next tutorial we will then take our recorded overheads and start processing them; you can’t fake the perfect sound in the mix, it has to start with the drum itself.
So if you are ready to take your tom and cymbal sound to the next level, read on!
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