Now that we have this advanced capability, lets turn now tocorrecting the phase of the recorded drums. For the recording phase,we have found it very useful to have a few mics on the drums foran ambience source, one of them setup for close mics. It is easy to micsoud on cymbals and kick. The ambience can be recorded with somemiscussion and effects recorded on a separate track. We also havea microphone that can be placed anywhere for the best bang. These all have their own phase issues, that also call for changing the phase of theincoming signal. Fort his first step, Ill be looking at the drumset up with a few techniques.
Let's start with the basic drum. First, I usually mic the drumsetup with one of these hybrid or mid/close mics. Now, I don'treally care which direction the mic is pointed. A good tip is toget it's flat-response upward, and bumper off. Conveniently, mostdrum heads arent too shiny, so this doesn't have to be anaccurate directional mic. Let's examine the side of the drum so itbrings up drums in natural stereo spaced. Group 1 (G.1) we want tomicrophone side on, here. So we use the pillow. Here, you shouldbe getting direct off of the drums. Some drum mics, such as LDC'sand more traditionally built mics will pick up the sound almost identicallyin both directions. Some modern heads have a distinctive characteristicin both sides, however in a more colorful, enhanced fashion. Formost songs, I would grab it directly off the head. If I felt themike was going to be better sounding off a little diagonally to the head,I would go for that direction. I pick up this one with a Shure SM 57.Now, I like to choose a mic on the side that's already presetfor showing stage-fade, but also one that's position as closest asthe drum head. For example, you get less off-axis response, andget a high quality direct off from the drum. This may be the closestpeaked on the cymbals for a high quality sound. d2c66b5586