Drum mic'in

Here is a small article from a few years back:

https://www.guitarnoise.com/article.php?id=175

It's a place to start...

-Laz

yeah, that's really good, there's a few kinks in our setup, because our drummer really likes to spread his set out, more than 180 degrees around him, so I guess we'll just have to buy another mic

thanks!

Triangle miking technique is miking drums by putting one mic in the kick drum, and placing the stereo mic's on either side of the drum kit. Also putting another microphone between the snare and high-hat works wonders. The sound of the kick is often critical, particularly in types of music for which the bass drum plays a foundational role.

When using two microphones, pay attention to ensure that the two mics are not significantly out of phase with each other, which can lead to a deterioration of the sound when the two channels are combined. To test for phase problems is to reverse the polarity on one of the mic channels and listen for changes in the quality of the sound. Then, choose the polarity configuration that sounds best.

More times than not some EQ or other signal processing will often be required to make the kick-drum sound right, also the use a compressor and/or dynamic processor. A good compressor can really bring out the resonance and even enhance the desirable click from the beater.

just some thoughts.

Joe

When using two microphones, pay attention to ensure that the two mics are not significantly out of phase with each other, which can lead to a deterioration of the sound when the two channels are combined. To test for phase problems is to reverse the polarity on one of the mic channels and listen for changes in the quality of the sound. Then, choose the polarity configuration that sounds best.

While this is true, it doesn't actually have anything to do with phase. Phase refers to a time shift; this is polarity.

When using two microphones, pay attention to ensure that the two mics are not significantly out of phase with each other, which can lead to a deterioration of the sound when the two channels are combined. To test for phase problems is to reverse the polarity on one of the mic channels and listen for changes in the quality of the sound. Then, choose the polarity configuration that sounds best.

While this is true, it doesn't actually have anything to do with phase. Phase refers to a time shift; this is polarity.

Sorry Paul but Joe is right and so are you to an extent. Phase occurs because the distance between the different mics and the drums causes the signal to be delayed in of one of the mics compared to the other and so they sound "out of phase.". The most obvious effect would be an oscillation in volume or at times a phasing or flanging effect depending on the degree of phase which they are out. Some of which effects are not necessarily undesireable. Polarity refers to phase. On some consoles it the switch is called a phase switch.

Don't be afraid to experiment when recording. I read an article in which Jimmy Page was talking about how they recorded the drum track for "When the Levee Breaks" in a hallway (of the studio, i believe). The basic effect was that it echoed and John Bonham's heavy bass drums echoed through the mix. To this day, that song contains one of the best drum tracks in my opinion. Anyway, this is a case when thinking outside the box can be useful

yeah, since I posted this we've done some pretty cool stuff, one really easy one is Black Sabbath's setup

you just strip down the whole drum set to its basics, two cymbals, bass, snare and a tom , then you shovve a condeser in the middle of it right in front of the drummers face, and one mic at the front of the bass drum

that'll fix your 8-track mixer problems :D

and I have always wanted to record in a small hallway at my school, I walked through it every day after choir, and loved belting out long tones on my way down it