Proper mic selection and position is the basis for building a solid mix around your drummer. If you start with these basics, you will have a foundation upon which you can begin to layer the rest of the band.
Microphone selection
This is a very subjective area, and every engineer (and drummer) has his or her preferences. Here is a list of commonly used mics and their applications, not in any particular order.
Kick Drum: AKG D-112E, or the earlier D-12E. Electrovoice RE-20, Beyer M-88, Sennheiser MD-421U, Shure Beta-52, Shure SM-91(regular or beta versions), Audio Technica AT-4060.
Snare Drum: Shure SM-57, or SM-56 (same as 57 but has tilt mount), Audio Technica AT-4053, Audix D-3, AKG D-1000E.
Toms: Sennheiser MD-421U, Sennheiser E-604, Shure SM 98 (or 98-A), AKG 408, Ramsa S-5, Audio Technica AT-4053
Overheads-Hi Hat Shure SM-81, AKG 451, or 460, Audio Technica AT-4051.
Placement
Now let’s talk placement. These would be starting places but actual placement would depend on how it SOUNDS, not how it looks. And you also have to take into account the comfort for the drummer (as big mics can be intimidating to relaxed playing), and what kind of kit is set up, what kind of stands you are using, etc.
Kick
If there is a hole cut into the front bass drum head, then the mic is inserted about 2″ inside the hole and aimed just off center to the beater. If there is no front head, then place the mic inside the drum about 1 foot in front of the strike head again aimed just off center. Personally, I have had good luck with an AKG D-112E, or EV RE-20 at the hole and a Shure SM-57 placed inside mixing the two mics together.
Snare
For live sound, I generally don’t mic the bottom of the snare so let’s talk about top snare placement. With a Shure SM-57, I place it over the snare, next to the mounted tom, almost flat across the drum head, angled down slightly, with the capsule about 1 inch over the head. Any more, and it will get damaged by a stick hit.
If you find it necessary to use a bottom snare drum mic, feel free to. Some guys like it to get extra buzz from the snare strainer, or even a different midrange tone. I suggest that you place it under the snare drum, aimed up at the drum at an angle, about 6 inches away from the drum. Keep in mind that this is just a starting place, and you will have to experiment. Make sure you put this mic out of phase if you are using it in addition to a top snare mic.
Toms
Similar to snare micing, only with more of an angle perpendicular to the floor (or head). Even if I have concert toms, I do not mic from the bottom or inside, as there can be problems picking up all of the audio from floor monitors.
Overheads
Up over the cymbals, left and right (I use two), on stage right between the ride cymbal and 1st crash aimed a little towards the other cymbals upstage. On stage left, over the 1st crash, aimed a little towards the other cymbals upstage.
Hi-Hat
Over the hat almost perpendicular to the floor but aimed upstage a bit.
Equalization
Kick
Generally, I roll off 600-800hz about 6-10db, and boost a tiny little 3.5k for some snap (if it’s needed). You may have to noodle around with 2k a bit to keep the punch, but lose the harshness.
Snare
I usually cut 1k about 3db, and roll off anything under 600hz using the high pass filter, in the mids only. Then I select the 80Hz or 100Hz shelf if it’s available.
Toms
Very similar to the bass drum settings, only you have to cut the low end to cut down on the sustain of the tom, especially if the drummer doesn’t use any muffling. If the low end cut isn’t enough and the toms are out of control, I insert a gate compressor and set the gate at it’s fastest attack with the release point sounding as natural as possible (just like the drum sustain sounds to the drummer), and I compress it about 3:1.
Overheads-HiHat
Generally I roll off anything below 2k using the high pass filter, or just turning the mids and low EQ’s all the way down, and then I select 4k or 5k and boost it 3db-6db. I also select the 80hz-100hz shelf. This works if you want to get the nice high end of the cymbals only, but sometimes I open up the mids a bit if I need to hear some ambience of the toms in these channels too, like if the drummer is using brushes, or Pro Mark Hot Rod type multi dowel sticks. In addition to the above, I have also had success using ONLY a kick mic, and ONE overhead if mics or channels are limited.
Another successful action for me, (but only in venues with carpeted stages) has been to lay a Shure SM-57 on the floor on the beater head side of the bass drum, under the snare, and then used ONE overhead. You’ll be amazed how well this works. Don’t be afraid to move the mics around and listen to see what sounds best to you. Keep in mind that you are amplifying the sound of the drum kit that has been made available to you. If the kit already sounds bad, you will just end up with a LOUDER bad sounding kit. On he other hand, radical EQ’ing can really make up for a lot, and “create” a good sounding drum kit
The key to getting a good drum mix is experimentation with the available microphones and various positions. Take the time during rehearsal to implement different configurations and find the one that works for best for you. Experimentation can be fun and the sound can be surprising, nonetheless I hope that these suggestions inevitably provide you with better results.
Hello and Welcome to Sound Advice, the technical forum for worship leaders and technical staff in today�s church. My name is Leon Sievers, and while I have more than twenty years of professional audio experience, it is out of obedience and my faith in God which prompted me to create Sound Advice. I have a passion for worship and a strong commitment to prayer. The goal of this web-site is to inspire a commitment to technical excellence within the church. It is my prayer�. that you can benefit from my experience, and I from yours.
I want to dedicate this ministry first to our Lord and Savior, to my wife Laura and daughter Katie, Stephen Newman for creating EXW, my Pastor John Reed and to my brothers in Christ and Sound; Larry Aitken, Lance Enos, Mike Austin, Darryl Brice, Shaug Evans, Erik Yourshaw and the entire worship team(s) at Canyon Hills Church, without whom I would have never come to know the grace and mercy of Jesus Christ. Before we get started, would you please join me in a prayer for our respective ministries�
Oh Lord, please bless this ministry that it might glorify your name. May the talent that you have bestowed upon me be used only to serve you. Let this work be a witness to your majesty and love, and remind us that you are always watching, and listening, from your throne above. May your presence and beauty be found in every note, and may the words that are sung reach the hearts of your people so they will draw closer to you. May your Spirit guide us through every measure so that we might be the instruments of your peace, and proclaim your glory with glad voices���Amen.
Let me begin by saying that this is your web-site and I have no pre-conceived notions of what it should be. I found EXW to be a valuable resource for information, which helped me grow in my faith and understanding of worship. When the Lord first spoke to me about creating Sound Advice, I conducted my own research into those who have gone before me. And I want to tell you�. there are some tremendous people who share our passion for Christ and have technical insight. And true to their faith, they have agreed to share in their experience and knowledge so that we may all benefit. A lot of ground has already been covered in creating technical materials and articles that apply to the church. Rather than duplicate their efforts in an attempt to be original, I will continue to collaborate with the leaders that God has inspired and aid you in filtering the vast resources of information. I will remain open to the spirit in featuring the topics that are of most interest to you and of importance to God. I will translate the technical into real world terms that the layman and novice can understand and APPLY. I am open and committed to developing this ministry into whatever God will have it become.