I had an opportunity to learn drum miking techniques using a couple of different microphones both dynamic and, condenser and ribbon mics whilst ready to live track with loops. First important thing was to find an excellent position in the drum room to set the drum.
The first set of mics to be set where bass drum mics, the Beta 52A and AKG D112. The D 112 being the inside mic within the Kick Drum on the the short boom mic stand and angling it in through the hole to capture the low frequency and attack of the drum. The Beta 52A positioned a bit on the outside but the half ring of it within the drumhead making sure that it is not touching the drum skin as it will resonate which makes the tone change.
As for the snare the mic prefered was the Shure sm57. The mic was set over the snare making sure it does not hinder the drum from being in his or her way aiming for the center of the head to also avoid proximity effect. A second sm57 mic was placed a few inches away below the snare to get a buzz from the wires of the snare then the polarity was switched, in other words changing the phase.
Hi hats produce very frequencies and the mic was placed just a little above the hi hats about halfway between the center of and the outer edge. Getting the mic too close may cause tingling or bell sounds. I think more experimentation with placement is critical and drummer’s hi hats will sound differently.
The mic tom placed was an sm57 placed on a mic stand. I find it to produce a nice tone to the drum once it is placed a little bit above the the tom. The determining factor would be the presence of cymbals both physically and sonically as this can have an effects when editing each track.
I found the Sennheiser MD421 to be a very interesting mic on the floor tom placed on a mic stand placed almost on the top rim of the tom. It is much fatter, fuller and more bottom compared to the sm57 with a clean top end. I have only used the 421 before micing a guitar amp and does produce amazing tones.
Rode NT5s were the choice mics for the overheads and the approach was and XY technique which I learnt in my first trimester. The mic placement was above the the drums over the left and right sides if the kit to get sounds from different angles. I find that to be an interesting technique and would how it would sound during the mix process to get the stereo image.
AKG C 414 were the chosen room mics to capture space around the drums. I understood that it is critical to get good drum sound as it is supposedly a glue that holds holds all the contrasting multi-miked tracks together and to capture a natural and ambient recording of the drum kit as a whole..The mics were positioned about one and a half metres in front of the kit and about less than a metre above the floor to give a good overall sonic picture of the totality of the drum kit.
Some interesting techniques that I will continue to put into practise whenever an opportunity arises and to continue to experiment with different types of mics on different sources just to get the feel of each mic.