Recording Handbook - Hol.gr

d. Real Drums and Real Drummers
There are two things that you need to get good live drum sounds, a properly tuned, great sounding kit and
a properly tuned, great drummer. If you can only get one, go with the human. You can always replace the
sounds.
The basic approach to drum miking involves a seperate mike for the kick, the snare, the hat, the toms and
one or two overheads to get the cymbals and the room sound if there is one. Another snare option is to put
one mike underneath and one on top. Some of the great drum sounds from classic rock records were
recorded with two mikes on the whole kit! The miking techniques should reflect what kind of drum sound
you're going for.
Compression can be a big help when recording drums because of the transient nature of the instruments.
Depending on the parts being played, use it as needed. Sometimes gates can be helpful as well, especially
when the rhythm section is being recorded in the same room. Noise gates with "sidechain" capability
allow you to select what frequencies will open the gate. Another excellent device for this application is the
"Kepex" expander/gate whose operation is frequency dependent.
Many engineers like to slam high levels on to analog tape to get the natural "tape compression" sound.
Some even go to the lengths of recording drums on 2" 16-track analog and then transferring that to another
format to complete the project. Hey, if you've got the budget and the time, go for it. BACK TO INDEX
4. The Mixing Console
The mixer is just that. We use it to organize our signals going to the tape machines, to organize what we
need to hear back from the tape machines, to monitor playback from our mixdown DAT, 2-track or other
stereo sources, and to add effects to whatever is needed. In short, it is the heart of the multi-track studio.
a. Inputs and Outputs
Recording consoles are designed to be connected to multi-track tape machines. They provide seperate
mixer inputs for our sound sources(mics and line inputs) and the tape returns (signal playback from the
multi-track) and multiple outputs from the mixer to the tape machines (both as "direct outs" from
individual channels and through the "bussing matrix"). In addition, the input channels with a choice of line
or microphone input also offer equalization, effects sends, pan, buss send options and a fader for volume
on each channel strip.
In-line consoles include the input section and tape return level and pan on the same physical channel strip.
Split console designs have seperate channel strips for inputs and tape returns, usually with less EQ and
effect sends on the tape returns (the "monitor section").
Semi-pro and home recording gear operates at a -10 level while professional equipment operates at a +4
level. Without getting too technical, this means you have to pay attention to the particular input and output
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