Looking for something to help kick start your next project? While wide is nice, sometimes the opposite needed. The key for me is to make sure the mono overhead is fairly high so as to capture all of the cymbals well. Mono drum overhead? Trademarks and brands are the property of their respective owners. From working with Grammy award winning engineers down to small start up studios, he has seen all sides of the industry, and what it takes to get the job done right. Required fields are marked *. Having graduated with a bachelors and masters in audio and music, Mike is a well versed audio engineer, musician, and educator. One of the biggest benefits of keeping the overhead mono is to get the whole drum sound happening right down dead center. Remember, in mono mixing you have to mix to the overhead, you cannot mix the overhead to the individual mics since the individuals do not cover the whole drum set. Envato Tuts+ tutorials are translated into other languages by our community members—you can be involved too! You could start by simply centering the overhead mics over the drum kit using an X/Y or ORTF pair (note: my first choice for this task is a large diaphragm cardioid condenser so that mic type will be assumed throughout this post. So stereo drums have phase problems? Online Audio Services by Tinderwet Studios, Posted onAuthorRoland CziliLeave a comment. Now you can go mad with it! You can do reverb in mono but you need to mix with a mono reverb from the beginning. However again the choice is yours but I do recommend choosing a mic placement that ensures a good tom and cymbal sound as we are trying to avoid having to mic every drum and micing every tom would defeat that purpose. With our recording now in line it is time we get to mixing the tracks together to give us our cohesive drum sound. This is why minimalistic micing techniques work so well for mono recordings. Your email address will not be published. Because for most people, it’s only natural to want those big, wide, stereo drums. Design like a professional without Photoshop. Once that is achieved you can then begin to balance how much kick and snare mic you need into the mono mics sound. Minimal micing and mono recording can be a wonderful break from the complexity of multitrack stereo recording. When there is too much bleed from the other drums (this usually occurs in the snare) try adding a gate effect before the compressor. Adding some gentle compression to the overhead can help give it a fuller sound without adding any noticeable artifacts. If you need a very articulate sound then a small diaphragm condenser will be your best bet as they have a very fast transient response. Once again thanks for reading! I hope this tutorial as proven useful and enlightening for you and that it will help you in your audio endeavors. Hear how the kick and snare have a more in your face sound like you would hear on a typical modern day sound? By continuing to browse this site you give consent for cookies to be used. When the chorus hits, you switch to the stereo overheads and widen out the sound. And for those of you with a limited budget and mic selection you can see how this technique gives more than satisfactory results. Set up three overhead mics; a stereo pair, and your best mono mic for the big centered sound. If the kick does not have enough room shaking bottom end try boosting the 20-60 Hz region but be careful! If you find your kick having plenty of attack but not enough bottom end then you will need a kick mic that reflects that. First and foremost we need to make sure that our tracks are in phase with one another. If your speakers cannot put out 20 Hz then do not boost anything in this region or you may blow a speaker that can put out 20 Hz! First up we have the microphone placed just above the kick drum aimed at the toms and pulled back a few feet. So with that in mind, let's take a look at some micing techniques for mono drums. Be sure to follow him on Facebook to stay up to date. But be warned, the information inside is anything but minimal! Your options are limited and it forces you to make educated decisions early on in the recording process. CategoriesMixing & Mastering Audio, Recording AudioTagsdrums, microphone, mono overhead, phase, stereo, Your email address will not be published. Now if you solo the snare track you may feel like it has a pumping effect and is chopping the snare too much but remember you still have the overhead to smooth out the gated snare sound. Well, think about it. Remember, in mono mixing you have to mix to the overhead, you cannot mix the overhead to the individual mics since the individuals do not cover the whole drum set. If your kick and snare tracks are not in phase with the mono overhead then shift your tracks around ever so slightly until they are; more ideally you would have shifted your microphones around instead.

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