Point the logo at the snare to center the snare in the stereo field. An SF-12 or SF-24 stereo mic placed 3-4ft. Ok- Ill be back in an hour with results! Uh-oh. Orders placed today for the Snare Mic are expected to ship on December 30. This...never occurred to me! Try it – you’ll be amazed. See examples below. Done. Now try the same position with the SF-12 or SF-24, but 6-8ft high. Royer R-series ribbons have excellent side rejection which extend to the top and bottom sides of the mic as well. Balance to taste! The only logical progression is to just start playing drums with mics. Richie Hayward’s kit on a home recording session. Just use sm58s. Ribbons sound great on snare and can handle the SPL no problem. For Omar Hakim’s kit, Bruce used a pair of R-122’s for overheads, an R-122 on the ride cymbal and an R-121 on high hat. Angle the R-121 downward at 45 degrees, and position it 10-14 inches from the kick drum head. Ribbon mics were the industry standard for recording and broadcast from about 1920 to 1950 and are one of the defining factors in the recordings from that period. Due to the realistic sound pickup, cymbals won’t be as bright as with condensers. Minimilist miking is good for some things, but most engineers today use a number of mics on the kit and at least a pair of mics in the room. It’s a great idea to use one or two mics in front of the kit; after all, that’s usually how we listen. One Royer stereo ribbon mic on drum overhead gives an amazing image of the kit, with fast transient response and the added advantage of handling EQ beautifully. Hopefully this prevented the tines from damaging the ribbon? By using our Services or clicking I agree, you agree to our use of cookies. R-series mics are wonderful on hi-hat and can handle all the hi-freq eq boost that you can throw at them. We felt it would make a great first tube/ribbon mic for someone seeking some tube character, with the advantage of having that big, warm ribbon lower mid-range. A great place to start is with the overheads, as they establish the imaging and the natural balance of the kit. high about 4ft. depending on the mic and the drummer the ribbon could get fucked up during the recording if it can’t handle the SPL, edit: i now understand why ribbon mics can be used on snares and can sound great doing so. Place an SF-12 or SF-24 over the kit and an R-121 or R-122 about 1 foot off the front kick drum head, angled 45 degrees toward the drum (this protects the ribbon elementand reduces kit bleed into the kick drum mic). A couple of caveats: The part of the snare's head closest to the mic may be substantially out of phase with the part struck by the stick, but both parts contribute something to the sound at the mic. Add a dynamic mic, such as a D-112, 421, or even an SM57 placed inside the drum, to pick up the attack of the beater. This is Bruce Swedien’s high hat miking technique. It’s better to print it and not use it than to need it and not have it. MONO – Place one R-series mic 5 feet in front of the kit (closer or further depending on the size of the room), waist high. The center-panned snare mic is obvious and definite, but the overheads will try to pull the snare more to the right. The L-R imaging is excellent and the drums record very much like what the drummer is hearing. Because the top of the mic is a null point, leaning the microphone forward – which points the top of the microphone directly at the rest of the drum kit – gives you a well isolated kick drum, almost as if you had a blanket over the kick and the mic for isolation. Position the mic at a 45 degree angle, pointing at the center of the drum, making sure to leave enough room for the drummer’s sticks. Place at a 45 degree angle and leave room for those drum sticks. The sound of the R-121 in this position has often been compared to a FET-47. Here are some tips: Place an R-series mic underneath the snare with the rear of the mic facing the snares and front of the mic facing the beater side of the kick drum. Honestly big respect for posting your own mistake to possibly learn from. Elliot Scheiner also uses R-122’s for drum overheads. Ribbons sound great on snare and can handle the SPL no problem. It’s super fat on the snare, and I have another on the kick. This will pick up the overall sound of the kit and can support your other tracks nicely – compress this mic to stun to add hugeness and compressor pump. IIRC the Fathead has two layers of mesh behind the outer grille, and there's an additional fine mesh over the whole magnet assembly. The low ceiling of the isolation booth was dealt with by angling the mic. For a more “vintage” sound, skip the dynamic mic. SF-24 for overheads on Train, being recorded by Don Gilmore. As you move away from the center toward the rim, the sound of the drum will be more balanced between the head and snares. Ribbon mics are bi-directional, picking up to the front and to the back. On top of that, what the bottom mic picks up may have less direct relationship to the top head's movement than with the wires. Press question mark to learn the rest of the keyboard shortcuts. This pic of the kit was taken during a Jane Monheit session. Ribbon mic between snare and hat; If this is your first visit, be sure to check out the FAQ by clicking the link above. The mic should now be at a 90 degree angle to the floor. There is a way to deal with this scenario. Mono overhead miking can be very effective. Your overhead mics can be spaced closely or spread out for a wider stereo image. Here is Richie Hayward’s kit miked up for a home recording. Eddie Kramer used three or four mics on John Bonham’s kit on some of the biggest sounding Led Zeppelin’s tracks. Although ribbon mics sound great on snare drums, they're a bit tricky to use without endangering the ribbon mic. This is engineer Dusty Wakeman’s snare drum setup. The brushes and mic grill got super-stuck! Opening up the higher frequencies with EQ will give the cymbals more sparkle and cut without affecting the pickup of the rest of the kit. If you're micing a batter head, expect the mic to be hit. The brushes and mic grill got super-stuck! Also amazing sounding jammed up against an amplifier. The Snare Mic is our high SPL adaptation of the KM84 circuit and capsule, designed specifically for use on snare drums. In this configuration, you can get a lot of cymbal coverage without much snare. Drums set up in Chuck Ainlay’s studio with R-122’s split out wide. high, 4-8ft. To capture a “cannibal vibe” in Pirates of the Caribbean 2, Alan Meyerson put one R-122V tube ribbon mic over each of three kits on the Sony scoring stage in LA. in front of the kick generates a nice stereo image. For a jazz or vintage setup, place an R-series with the front facing the snare and the back toward the hi-hat (remember, ribbons are bi-directional). Moving the mic higher and lower can make a lot of difference, giving the kit an immediate, punchy sound (close) or a more open ambient sound (further). A bonus is that they have a strong null-point to the sides. Instead of a dynamic microphone’s diaphragm that is attached to a moving coil that vibrates within a magnetic field, ribbon mics feature an extremely thin strip of metal (most often aluminum) suspended in a strong magnetic field. Figure 2-Creating an offset "audio center" line Engineer Steve Kempster’s setup – SF-24 8 feet in front of the kit, R-122’s overhead, R-122 on ride cymbal. Legendary Beatles recordings had a Coles 4038 ribbon mic overhead, an AKG D19 on the snare and an AKG D20 in front of the kit – the classic Ringo sound. To start viewing messages, select the forum that you want to visit from the selection below. My favourites are the RCA44 and 4038. Remember to flip phase with this mic so it will be in phase with the top mic as well as with the front kick mics. I have a pair of NT5s at standing ear-height as well. Products, practices, and stories about the profession or hobby of recording, editing, and producing audio. This picture of an angled SF-12 is from a session Al Schmitt recorded. Here’s another Bruce Swedien setup with R-121’s on toms and high hat. Brian Blade’s live drum miking – R-122 on kick, R-121’s on overheads, R-121 on high hat. i don’t know why anyone would mic a snare with a ribbon mic. (If you are interested in drum microphones, you should check out Jon’s reviews of the JZ … Yeah, no damage once I got the brushes free. A ribbon mic is actually a type of dynamic microphone. Sean Beavan’s drums with R-121’s on toms and kick, SF-12 overhead. Minimal miking is a great place to start. My favourites are the RCA44 and 4038.I tend to place them a little further back than a dynamic but only to minimise the risk of being hit, and to put the cymbals in the figure 8 null. R121s and R122s both sound great on toms! Place an R-series mic between the cymbals, pointing the front toward the ride cymbal and the back toward the crash cymbal. Cookies help us deliver our Services. Here’s a great technique that might come in handy. My favourites are the RCA44 and 4038. Old Motown records employed similar minimal miking techniques; since many of the sessions were done live with the musicians in one large room, minimal miking was necessary and it helped reduce leakage.