Micing a percussion kit posted by tim...

Micing a percussion kit

Posted on Jan 23, 2009 10:48 am
timexone
producer
Member Since: Dec 07, 2006

Hey all,

I am recording a quick acoustic demo for my acoustic cover band and want some advice on different ways to mic this particular kit.

if looking at the kit from an audience's point-of-view, from left to right it goes Splash Cymbal, 18 inch loud-*** Djembe, 2 Santana Bongos...all played with the hands.. Clearly the Djembe is quite louder than a hand-hit splash and bongos, so thats a challenge itself.

when we mic it up live, we typically use 1 mic on the top of the djembe head pointing towards the bongos and that usually does the trick since we generally play small rooms.

Now this percussion setup wasn't strategically designed this way or anything, more or less, it started with a djembe and things were added to our show over time and it landed like it is.

I tried to mic it up for recording once and wasnt too happy with the results. although i did break a few micing rules so I'm not really surprised that it wasnt what i was looking for.

This was the method i tried:

- A R0DE NT1-A LDC over the splash (sounded terrible)

- A 57 close on the Djembe head
- A D112 underneath the Djembe pointing up - inverted phase of course (the Djembe was the only signal that was sonically good)
- 2 matched Karma Micros on each of the bongos (close on the heads).

Since the Djembe was pretty good, my concern lies mainly with getting the splash and the bongos in there. I considered just micing the bottom of the Djembe and using 2 overheads (like a recorder man technique) but I kinda want to be able to pan the bongos left right so i havent tried that idea. however if thats what i need to do to get it sounding good, then screw the panning - ill take the quality. Any suggestions or experimental ideas that anyone has?

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CptTripps
Czar of Turd Polish
Member
Since: Jun 20, 2006

Jan 23, 2009 12:10 pm

Being limited on mics I might just go with the recorderman and close mic whatever you can.

The one time I did record percussion other than a standard 5 piece drum kit I actually used my LDC on the top side and a D6 underneath. That would free up your 57 which would probably sound much better on the splash than an LDC.

The KMicros on bongos shouldn't be bad, maybe just bring them back a tad and capture a tone with more air to it.

My $.02

timexone
producer
Member
Since: Dec 07, 2006

Jan 23, 2009 01:56 pm

Thanks for your input Tripps. Although mic selection isnt whats limiting, its more my knowledge and experience, sorry for giving that impression. I do have plenty of mics (Not all of them are the best) but i got 3 LDCs, 7 SDCs and at least a dozen handhelds - 57s, 58s, etc...

For the Splash:
is a 57 that what you would recommend above all? or was it just a suggestion to get away from the LDC? i can always throw up a 57 and SDC to see what happens. I do have 16 ins and have enough mics to fill em to experiment.

For the Bongos:
I have had luck with the Kmicros as overheads, but never tried close micing before with them so ill try pulling them back per your suggestion. should i throw 57s on them too? or is condesor the way to go with small percussion?

CptTripps
Czar of Turd Polish
Member
Since: Jun 20, 2006

Jan 23, 2009 03:18 pm

Ok, so you do have some more mics.

I would not say the 57 over all others, but I think it would be a fine choice for a single cymbal (used on hats at many shows I play). I think an SDC would be a good choice as well.

I would use 57's on those bongos as well, heck if you have enough I would probably run a 57 on the skin of all my percussion intruments for the attack (and some body) and mic underneath if needed for the lower instruments.

Heck, some overheads as a OH\Room mics might sound nice along with everything else.

Like I said though, I normally mic a standard 5 piece kit so am no expert on hand drums but... Proper mic placement with a 57 rarely yields a bad result imo.