A Guide For Drum Set Microphones

Transcript

A Guide for Drum Set Microphones WRITTEN BY DAVID MARK BUDD ILLUSTRATIONS BY CHOICEY A GUIDE FOR DRUM SET MICROPHONES FIRST EDITION David Mark Budd Helmholtz Collective Co. A GUIDE FOR DRUM SET MICROPHONES | ii PUBLISHING INFORMATION Copyright © 2016 by David Mark Budd This guide fulfills the Simon Fraser University course requirement for Concepts and Practices of Technical Communication (TCOM 110-ON11671). All rights reserved. Permission in writing must be obtained before any part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, Web distribution, or by any information storage or retrieval system. Every effort has been made to trace ownership of all copyrighted material and to secure permission from copyright holders. For queries, pleasantries, and permission to use material from this guide please send an email to the writer at [email protected] Created in Canada. Available for free download online at helmholtzcollective.wordpress.com This document is a guide for selecting and positioning drum set microphones. The example uses a standard drum set1 and eight microphones2. This guide will be useful for beginners who want to press record, artists who want to capture their music, and musicians that want to understand where to start. Use the “Table of Contents” on Page iii to navigate this guide. Text is set in Garamond. Titles are set in Helvetica. 1 2 Standard drum set; see Behind the Guide on Page 13. You can use more or less depending on the situation. But, honestly, eight microphones will work great. BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | iii TABLE OF CONTENTS Fundamentals of Recording .................................................................................... 1 Dynamic Range ........................................................................................................ 1 Recorded Sound ...................................................................................................... 1 Common Problems................................................................................................... 2 Understanding the Microphone ............................................................................... 3 Dynamic Microphones .............................................................................................. 3 Condenser Microphones .......................................................................................... 3 Ribbon Microphones ................................................................................................ 3 Getting the Drum Sound .......................................................................................... 4 Setting up the Drum Set ........................................................................................... 5 Placement ................................................................................................................ 5 Tuning ...................................................................................................................... 5 Setting up the Microphones .................................................................................... 6 Selection and Position .............................................................................................. 6 Playback Review ...................................................................................................... 6 Problem Solving ...................................................................................................... 10 Time to Record ........................................................................................................ 11 Studio Notes ............................................................................................................ 12 Behind the Guide .................................................................................................... 13 BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 1 FUNDAMENTALS OF RECORDING DYNAMIC RANGE The drums are the backbone to a band. In the audible spectrum the drum set occupies a wide range of frequencies. Its wide dynamic range means that the drums share frequencies with every instrument. The audible spectrum is the range of frequencies heard by the human ear, typically between 20Hz and 20000Hz. Dynamic range refers to the ratio of intensity between the quietest and loudest sounds. Transient frequencies are short-duration, high amplitude frequencies. The dynamic range of the drum set is illustrated in the figure on the left. The vertical axis represents the relative amplitude—the loudness of the signal— measured in decibels, dB. The horizontal axis represents the frequency—the pitch of the signal—measured in hertz, Hz. The low-end of the spectrum, located on the left portion of the figure, is dominated by the kick drum and floor tom. These drums are resonant with full bass tones. The centre of the figure represents the 20 200 2000 20000 Frequency (Hz) © 2016 mid-range frequencies where every The dynamic range of a drum set component is represented. The loud highend frequencies of the cymbals and snare drum are illustrated on the right side of the figure. The snare drum will be loud across the full range due to transient frequencies. Kick Relative Amplitude (dB) Hi Hat Floor Tom Snare Rack Tom Ride Crash BUDD Being aware of the dynamic range is essential during the mixing stage. Balancing the recorded sound of the drum components with each other and with the band is an essential challenge in making a cohesive recording. Thinking about the dynamic range while setting up the drum set and microphones will help you get a cohesive drum sound. RECORDED SOUND Sometimes the recorded sound can be more complex than the sound in the room. A microphone will expose these complexities. Certain areas of the dynamic range are boosted or lowered because the circuitry in a microphone can be more sensitive than our ears. In other cases, the style of music will mean the drum set is played in a certain way or it should have a particular sound. It’s important to listen to the instrument’s sound in isolation as well as in combination with the other instruments. Doing so will help identify if adjustments are required to when getting the drum sound set. BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 2 The microphone is the first piece of the recording process that will affect the recorded sound. It converts sound waves into an electrical signal. On Page 3 of this guide we identify microphones by the method they use to convert sound to signal. Understanding the type of music you are recording will help decide which microphones to select COMMON PROBLEMS Today’s microphone and recording device technology can make recording convenient and simple. However, a few common problems may occur during the process. Proper microphone selection and position can avoid most problems. Other problems won’t be apparent until you listen back to the recorded sound. Always listen back and question whether the recorded sound is okay. “Getting the Drum Sound” on Page 4 will help you get a cohesive drum sound. If problems arise, use Table C on Page 10. A simplified look at recording sound BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 3 UNDERSTANDING THE MICROPHONE DYNAMIC MICROPHONES Dynamic microphones convert sound into an electrical signal by means of electromagnetism. A dynamic microphone is simple, economical, and rugged. Typically a dynamic microphone is unidirectional, but microphones with cardioid polar patterns are available. Dynamic microphones are useful in loud and up-close applications. CONDENSER MICROPHONES Condenser microphones convert sound into electrical signal using a specially designed capsule. A condenser microphone is sensitive and will provide a wide frequency response. A preamplifier, either within the recording device or through an external connection, is required to provide phantom power. Small diaphragm condensers are often selected for their sensitivity and isolation. Larger diaphragm condensers are used to capture resonance and quick transient frequencies. Dynamic microphones use a wire coil attached to a membrane that collects sound waves. The membrane moves with the sound waves, forcing the coil to move with it. The wire coil is surrounded by a permanent magnet and the movement within the magnetic field creates a signal. Electromagnetism is the science of electrical currents in magnetic fields. Polar patterns describe where the microphone is sensitive. Examples include unidirectional, cardioid, and bi-directional. Condenser microphones use a capsule constructed of a thin diaphragm that collects sound waves. The diaphragm is electrically conducive and moves with the sound waves. The movement of the diaphragm in relation to a nearby solid metal plate creates a signal. Active circuitry within the microphone makes the signal more reliable using active circuitry. Phantom power is external power used to provide the active circuitry in a microphone. Ribbon microphones uses a narrow strip of extremely thin aluminum foil. The piece of foil acts as both an electrical conductor and a membrane that collects sound waves. The low input signal that is created requires a step-up transformer to increase the output to a usable level. Electromagnetic induction occurs when the movement of a conductor within an electrical field induces a current in the conductor. RIBBON MICROPHONES Ribbon microphones work on the principle of electromagnetic induction. They are actually a type of dynamic microphone. Ribbon microphones are fragile, sensitive, and often have a limited high-end. Their polar pattern is naturally bi-directional, making them equally sensitive to sound from the front and back, not the side. Ribbon microphones are best used for the drum set as a whole, whether as a room microphone or an overhead microphone. A ribbon microphone’s design makes it difficult to use for loud and up-close applications. The design also prevents it from accurately capturing quick transient frequencies with the same accuracy as a condenser microphone. BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 4 GETTING THE DRUM SOUND PLAY THE DRUM SET AND START LISTENING DRUM AND MICROPHONE SETUP LET’S BEGIN ANY PROBLEMS? ADD IN THE SNARE DRUM ISOLATE THE OVERHEADS ANY PROBLEMS? LISTEN WITH THE KICK DRUM LISTEN WITH THE OVERHEADS MAKE ADJUSTMENTS ANY PROBLEMS? ANY PROBLEMS? ADD IN THE FLOOR AND RACK TOMS ANY PROBLEMS? ADD IN THE CYMBALS ARE YOU SURE? DOES IT SOUND OKAY? LEGEND Start/End Question Task Action TAKE A BREAK “Everything is okay.” REST YOUR EARS CHECK THE ROOM MICROPHONE TIME TO RECORD “Let’s go back.” BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 5 SETTING UP THE DRUM SET PLACEMENT Pick a location to record the drums. A corner works best to reduce unwanted vibrations in the room. If the room is large enough and acoustically treated, place the drum set centrally. Use a carpet to prevent the drum set from moving along the floor. Make sure that the kick drum is firmly planted. Try using a cinder block to stabilize the kick drum. The drummer will arrange the cymbals and drums in a comforable position. As the drummer sets up the drums, observe how the drummer plays. This will help you make microphone decisions later on. An overhead view of a drum set TUNING Tune the drums once they are setup. Use a piano or reference tone as a guide. The shell of the drum typically has a resonant frequency that it can be tuned to. Find complimentary tones between the drums that will match with how the drummer plays. There are a number of online tutorials that will walk you through the drum tuning process. Visit our website at helmholtzcollective.wordpress.com for a list of a few of our favourite tutorials. Pillows or blankets can be put inside the kick drum to dampen the sound. Dampening tape can be used on the snare or tom drums in order to change the tone. If the sound isn’t working, try swapping the drum or cymbal for a different model. For example, a deep snare may not sound pleasing in a large room. Similarly, thin cymbals may be exposed as too brittle or too loud in smaller rooms. Experiment with the drums and cymbals to get the most cohesive sound. Once the drum set is tuned and in position, it’s time to set up the microphones. BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 6 SETTING UP THE MICROPHONES SELECTION AND POSITION As you set up the drum set, begin thinking about how you want the recorded sound of the drums to be. Do you want them to sound wet or dry? Should they sound warm or with more attack? Does the band want the recording to sound punchy or open? The recorded sound needs to stand firm on the structure of the drums—the backbone of the band. Wet sound is thick and deep with little sustain. Dry sound is crisp with short sustain. Warm sound has a strong mid-range with an even low-end and reduced high-end that lacks crispness. Attack sound affects volume and has a noticeable snap to the percussive hit. Punchy sound has thicker low-end sound with lots of attack. Open sound has resonance with natural sustain. Outboard gear includes compressors, effect units, equalizers, limiters, and preamplifiers used in the recording chain to alter the instrument’s sound. Your microphone decisions will develop the structure of the drum sound. How many microphones do you use? Which microphones do you choose? Where do you position the microphones? We recommend using eight microphones. Select your microphones using the recommendations presented in Table A on Page 7. These recommendations are based on getting a balanced sound with a reasonable budget. You will need a limited amount of outboard gear and a basic multi-tracking recording device. Any likeness to specific microphone manufacturers is for coincidental reference points; the choices are limitless and you are encouraged to let your ears, budget, and curiosity lead the selection process. PLAYBACK REVIEW Playback review is an essential part of the recording process. Start by listening back to the overhead microphones and how they capture the drum set. Overhead microphones will capture the entire drum set. Start adding in each microphone in isolation using the process suggested on Page 4. Address the phasing issue at each stage once a microphone is added to the mix. Phase cancellation will be the most common problem that arises during a multi-tracking recording session. Question if there are any other problems after adding a microphone. You may want to make adjustments to the microphones at the playback review stage. Use Table A on Page 7 as well as Table B on Page 9 to positioning and adjustment techniques. If there are problems with the recorded signal, review Problem Solving on Page 10 and make adjustments. Faders, playback cues, and headphones BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 7 Table A: Microphone Decisions REQUIREMENTS The overhead microphones should be a pair of stereo microphones. SELECTION SMALL DIAPHRAGM STEREO CONDENSERS The kick drum requires a microphone that can handle high sound pressure levels and low-end frequencies. LARGE DIAPHRAGM DYNAMIC The snare drum requires a durable microphone that can capture loudness and transient frequencies. UNIDIRECTIONAL DYNAMIC The floor tom requires a microphone with a cardioid polarity pattern and low-end sensitivity. BUDD © 2016 LARGE DIAPHRAGM DYNAMIC POSITION • Place the microphones in a Y-position above standing height. • Centre the microphones above the centre plane of the drum set which is located at the between the kick drum and floor tom. • Point one microphone left and the other right, keeping the microphone’s base 90° to each other (Y-position). • Eliminate phase issues by maintaining the 90° and then using the overhead’s phase to compare with all other microphones. • Centre the microphone slightly inside the front access port. • Reduce low-end by pulling out. • Increase attack by pushing in. • Place on the top side. • Centre the microphone to where the drummer hits and pull away from the skin by three or four fingers. • Increase attack by rotating the microphone closer to horizontal over the skin. • Increase fullness by rotating the microphone closer to vertical over the centre. • Prevent phase and obstruction problems by positioning near the side rim, pointing away from the hi-hat. • Place over the side rim. • Point the microphone towards the centre and pull away from the skin by about a hand width. • Reduce low-end by rotating the microphone closer to horizontal over the skin. • Increase fullness by rotating the microphone closer to vertical. FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES REQUIREMENTS The rack tom requires a dynamic microphone with a cardioid polarity pattern. The hi-hat requires a small diaphragm microphone with high-end sensitivity. The room microphone should have character and even frequency response. Use if there is a spare track on the recording device. BUDD © 2016 SELECTION LARGE DIAPHRAGM DYNAMIC SMALL DIAPHRAGM CONDENSER LARGE DIAPHRAGM RIBBON | 8 POSITION • Place over the front rim. • Point the microphone towards the centre and pull away by three or four fingers. • Keep the microphone slightly off-axis. • Increase fullness by rotating the microphone closer to vertical. • Point down on the top cymbal, between the bell and rim. • Keep the microphone off-axis, four fingers from the cymbal. • Eliminate low-end frequencies by using a microphone with frequency filter options. • Place along the centre plane, in front of the drum set. • Move left or right to balance the drum set and room ambience. • Eliminate phase issues using the 3:1 microphone phase rule. FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 9 Table B: Where to Position the Microphones PLACEMENT ON DRUMS BUDD © 2016 PLACEMENT ON CYMBALS AND DRUM SET Kick drum microphone Overhead microphones Snare drum microphone Hi-hat microphone Floor tom and rack tom microphones Room microphone FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 10 PROBLEM SOLVING Table C: Common Problems and Adjustments PROBLEM EXPLANATION ADJUSTMENT The volume wavers and is less than expected. Phase issues are occurring. • Use the 3:1 distance rule by placing the secondary microphone at least three times the distance from the primary microphone to the source. Certain frequencies are enhanced or cut irregularly. Cutting a microphone makes the sound fuller. The sound from a source recorded by multiple microphones is combined and produces out-ofphase sound waves. • Use a phase reversal switch on the microphone, on an external preamplifier, or on the recording device. This is common with the hi-hat, snare, and room microphones. • Check all microphones with the overheads and then base phase decisions on those microphones. The sound is crunchy. Microphone clipping is occurring. • Move the microphone away from the source. There is a clicking noise. The sound pressure level from the source exceeds the microphone’s limit. The electrical signal becomes distorted. • Tune or dampen the instrument. The recording is really loud. The meters on the device are all at full. The sound is flat. The recording does not sound like the instrument. • Select a different microphone intended for louder frequencies. Fragile condenser and ribbon microphones are susceptible to damage from microphone clipping. Poor frequency response due to microphone selection and position, or due to an instrument in poor condition. • Move the microphone closer to the source. Microphones have circuitry that is designed for specific functions and frequencies. Some positions will block out certain frequencies. • Use filter and polarity options on the microphone or device. • Rotate it on centre with the source. • Select a microphone for the function or frequency range. • Tune or apply dampening techniques to the drum. • Replace the drum skin. • Swap the drum or cymbal for another model available. The microphone is picking up sounds other than the direct source. Microphone bleed is occurring. • Point the microphone away from the bleed source. Bleed will naturally occur and may produce a desirable effect. Excessive amounts of bleed will produce muddy recordings that are difficult to mix. • Select a less sensitive microphone or polarity pattern. • Use filter options on the microphone or recording device. The hi-hat and tom drum microphones will be the most susceptible. A microphone gets hit. The drummer feels or sounds unnatural playing. Performance obstruction is occurring. • Move the microphone to a different side of the drum. Placing microphones requires close observation of how the drummer plays. • Use a microphone clip or a different type of stand to position the microphone. • Position the microphones away from the drummer. The snare, hi-hat, and tom drums are the most susceptible to obstructing the drummer. BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 11 TIME TO RECORD A cohesive drum sound will bring a band’s sound together on a recording. Take your time to make the drum sound as good as it can be before pressing record. Understand the room you are recording in and the music you are recording. Tune the drum set. Select and position the microphones with consideration of the drummer’s playing style. Review the playback sounds and making adjustments to ensure the drum sound is at its finest once you begin recording. Our guide gives you a starting point to position microphones on a drum set. Patience and a willingness to experiment will get you a cohesive drum sound. Experiment and make notes to keep track of recording ideas. When you record again you can revisit ideas that worked. The Studio Notes on Page 12 has been provided to keep track of your ideas if you wish. Throughout this guide there are simplified explanations to more advanced scientific and musical ideas. If you are interested in learning more about the science of electrical circuits, explore your local library. If you are interested in improving your recording skills, start a band or record a friend’s band. Most of all have fun and happy recording! A standard drum set BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 12 STUDIO NOTES BUDD © 2016 FIRST EDITION A GUIDE FOR DRUM SET MICROPHONES | 13 BEHIND THE GUIDE COVER ILLUSTRATION The cover illustration of this guide shows a standard drum set—a kick drum, floor tom, snare drum, rack tom, hi-hat cymbal, crash cymbal, and ride cymbal. ACKNOWLEDGEMENTS Thank you to the following people that were essential in the preparation of this manual: • Stuart McKillop at Rain City Recorders for his time and knowledge. • Richard Georg for helping with the editing and review stages. ILLUSTRATIONS Choicey used a black pen and thick paper. He sat at a green table in a kitchen. The pen marked the paper and Choicey held the illustrations up to the light one after another. “Everything is okay,” he said. He walked to a library and used a machine to make digital copies. Mr. Budd received the digital copies electronically and used the illustrations for this guide. WRITER Mr. Budd grew up in Edmonton, Alberta. He studied engineering and played music. As a musician he recorded in kitchens and studios. One day he moved to Vancouver, British Columbia. Now he records music in the room that he lives in. Sometimes his friends ask, “Mark, what are you up to these days?” Mark tells them he is taking the Technical Communication program at Simon Fraser University. The conversation meanders and Mark mentions that he is also writing, playing music, and hanging out with a dog named Peaches. Everything is okay. BUDD © 2016 FIRST EDITION