DRUMS
RECORDING DRUMS IN WORSHIP | Carl Albrecht photo by Josh Sorenson via Unsplash
In today ’ s worship world every musician should get used to being recorded . Many churches stream their services even if they are not making “ records .” LOL … what ’ s a record ? Ha ! Anyway … the point is , you should get used to the recording of your performances . Even if you don ’ t stream or make recordings , it ’ s still an excellent way to evaluate your playing . And that ’ s always important .
When recording we ’ re forced to analyze every detail . And that ’ s a good thing . It ’ s how we learn and grow . When recording or streaming I definitely think more in terms of leaving a lot of space for all the elements of the arrangement . Vocals and melodic instruments alike get my attention . I never think of drums and percussion as being separated from the rest of the music . I purposely try to leave room for “ riffs ” or melodic lines from all of the instruments involved . This often means I won ’ t play a fill or groove that takes up too much room sonically .
How the drums sound “ on tape ” is critical when recording or streaming . It ’ s not just about how it feels in the room . On breaks I ’ ll go to the control room and listen to the rehearsal recordings to see if the drums sound good . Yes , you should record the rehearsals too . In the world of producing records the motto is “ the red light is always on .” I ’ ll listen carefully to every element . Is every drum channel being heard ? Does the kick and snare sound the way you like ? Do the toms all match in terms of their sustain and character of sound ? Is there a good balance between the left and right overhead mikes ? There are times you have to move the microphones a bit to get the right sound . Sometimes I ’ ll need to change heads if they are sounding a little dull . But that is something to listen for during your practice and rehearsals . And always be sure to check with the engineer and producer to see if everything works for them .
In a live recording I might muffle the drums more to control the overtones in the auditorium . For studio sessions we would use more “ noise gates ” and compression for that during the mix down of the record . * Maybe … Again , always ask the engineer and producer if your drum sounds are working for their vision of the recording . I always try to make it work for them and trust their perspective .
If your drums are set up in a Plexiglas cage it would be a good idea to open up the booth a little bit when it ’ s time to record . If the shield is too close to the drums , they will sound harsh . In a non-recorded situation this is not a major problem . But when you hear the playback , the drums will sound brittle as if you are in a small box . Which is exactly where you are when using a booth or cage . Move the glass away just a little and it will help . I try to leave enough space to walk around the kit . This allows the drums & cymbals to breathe . Plus , you ’ re able to work around the drums easier if you must move microphones or cables . Also put foam acoustic panels along the bottom three feet of the inside of the booth . This will also help in reducing the brittle tone that Plexiglas creates . It would also be a good idea NOT to set up in a corner or along the back wall . The reflecting sound from those positions is horrible . Remember drums need room to breathe , just like people .
Be sure to set up on a nice rug or solid piece of
carpeting so you don ’ t hear floor noises . Also watch for microphones and stands moving and rubbing against the drums . You may not hear it at the moment , but you will hear the bumping sound or vibration when you get to hear the playback . Which might ruin a perfectly good take , or at least force you to mute that mike during the mix . You may also have to raise the height of your cymbals a bit if they are too close to your drums . This can really help with the separation of the drum sounds from the cymbals .
Keep refining all of your drumming skills so your drums and drumming sound great , and that you can fully enjoy the gift the Lord has given you . After all , “ THE RED LIGHT IS ALWAYS ON !”
Here ’ s to a joyful recording experience , great grooves , and strategic fills !
Carl Albrecht Professional drummer for 30 + years , playing with Paul Baloche , Don Moen , Ron Kenoly , Abe Laboriel , LeAnn Rimes and others . He ’ s also a clinician , author & pastor . Contact Carl for coaching , online lessons , producing , or sessions . I ’ m still growing too ... www . CarlAlbrecht . com LMAlbrecht @ aol . com
80 January 2024 Subscribe for Free ...