drum, so there’s just a slight angle to it. And the snare drum, so that’s going to get the most 91 or something, will go dead center of the
then on the right side I usually have a ride and accurate translation of what I’m doing. And inside of the drum if you can. If you have sheets
then a right-side crash. So just technically two then for the toms I do usually kind of the same or a pillow, adjust it to where that kick mic
cymbals on the right, and I position that mic just thing, just slightly above the rim, but instead of can sit right in the middle of that drum. What
right in between the two of them, where it get’s pointing towards the center of the head I like that’s going to do is capture the woofiness of
a nice balance of both of them, and then I point the mic to point a little bit more towards the the bass drum rather than the attack. If the
it a little more forward towards the tom so it’s edge where there’s going to be more ringing of engineer wants control of everything and you’re
majority picking up cymbals but also picking up the drum and less attack. That way you get the a little more picky about the kick out mic, that
a bit of the live drum sound. full roundness of the drum. will allow him to be a little bit more flexible on
your placement. The kick out mic I like to put
As far as toms I think depending on what mic Lastly would be the kick. Usually live what I not all the way in the head, but usually placing
you’re using I don’t think a lot of it changes like is having two kick mics. Also with snare, the tip of the mic where the screen is directly
the sound specifically. On snare placement a bottom snare and a top snare. Let me jump center of the porthole and then you tilt it slightly
for instance, some guys like the mic to be up back to the snare before I go into kick. In left to where it’s pointed directly at the beater.
and away from the head pointing directly at addition to that top snare mic, a bottom snare What this does, if you don’t tilt it towards the
the center. Some sound engineers like it to mic that is pointed directly at the snares on the beater, the mic is just shooting inside the drum
be down right by the rim and almost shooting bottom. That just gives you a little more control towards the edge, and so you’re losing clarity
across the snare drum. What I like is if I can put of that snare sound, you get the attack from the and you’re only getting a portion of the control
three fingers between the mic and the rim of the top and you can slowly adjust the bottom snare that you would have when you have it towards
snare drum, that’s usually a good placement for mic into the mix to give you more of that whip the beater. So that is my approach to what I like
me, and then I point the snare mic directly at and metal sheer snare sound, depending on in drum mics.
the center of the snare head. When I’m playing what you want. Then the kick drum, two mics my stick is usually always hitting dead center on as well. First, the kick in mic, usually like a Beta
[WM] You also use the Roland SPD-SX? What
Kit with Roland SPD-SX
November 2018
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