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[darkhorseporter]

Hey, Steve,

I've been trying to capture a drum sound similar to the one you recorded on the Owls album; roomy, nice stereo separation, and a full, natural snare sound.

Do you have any recollection of how you recorded those drums - particularly mic configuration?

It sounds to me like a spaced pair of omnis overhead, snare, kick, perhaps a room mic in front on the kit, but I'm likely mistaken.

Thanks a bunch,
Adam

[craig boychuk]

Man, I really enjoy that album.

Yup.

One thing I'm always amazed at is how Mr. A often mics the bottom head of the toms and doesn't have any problems with overtones, ringing, phasing, etc...he always gets really good tom sounds. I mean, you have to tune the drums well and all, obviously. I'm pretty good at tuning, but I often have to fight with the floor tom to get it (or them) sounding good on tape, especially 16" floor toms. I hate those almost as much as I hate hi-hats. Maybe it has to do with the legs contacting the floor, as opposed to rack toms that are often nicely suspended with minimal hardware. It doesn't help when the client likes them tuned super low and loose (an' I mean LOOSE), and also wants a full, resonant sound. weepsk.



-craig

[wwittman]

toms are your friend.

but you're right about hating high hats.

[cenafria]

I've found that micing the bottom of the tom helps getting a sound that works well in the mix. On its own it might sound "ringy" but, to me, it gets you the weight thats hard to get just with the top mic. Also, there's a little less cymbals in the tom tracks using this technique.

Hihats are evil. Its just the fucking truth.

[craig boychuk]

wwittman wrote on Mon, 05 February 2007 12:40

toms are your friend.

I know, I know...



...but, sometimes they make me soooo mad...

                 

I just have to hit them.



-craig

[dcgzr]

Micing toms from underneath is totally cool do it all the time both in the studio and live. In the studio I mainly use them for weight but live it's the main part of my tom sound