The further you move it away, the more room ambience you'll get. You may also choose to place a pillow inside the kick drum as a muffler to reduce unwanted overtones and help give a punchier, less boomy sound.įor the snare, position the dynamic mic a couple of inches above and an inch from the edge of it. It's vital that they are equal distances from the kit to avoid mic phasing (which happens when the sound is hitting each mic at different times).įor the kick drum, the closer you position the mic to the batter head (the side that is hit) the more attack you'll get from the sound. Start by positioning them six feet above ground level and aimed down at the kit. These capture the sound of the kit being played in the room and help produce a clearer cymbal sound. Using a four-mic setup for the drums to capture clean sound, start with the overhead mics first. You can minimise bleed between the other instruments by positioning musicians in a semi-circle or horseshoe shape so they're spaced out from each other but still close enough to communicate but amps aren't facing each other where they could cause feedback. It tends to happen less with the close mics you'll have on amps, but the drums are a loud instrument and spill from them is likely.īecause of this it's advisable to record your vocals in a separate session rather than have a sensitive condenser mic picking up the other instruments as well.
This is when the instrument on one mic is picking up the sound of another.
Positioning the bandīecause you'll be using mics to record the instruments, 'spill' or 'bleed' is inevitable between them.
Having a mate to be your engineer can simplify and speed up the process 3.
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