![]() ![]() ![]() Beware that the 100-250Hz region may also be used by the bass, and by the low registers of other instruments. While you’re playing with EQ, try boosting 100-250 Hz to add warmth and roundness, and cutting 250-800 Hz to remove muddiness. It includes some of the gear I personally use and some that I plan to use in the near future. Try a boost in the 1500-2500 Hz area too, to add presence to kick drum. Other than that, I’ve created your “shopping list” for this project. The best way to start picking favourites is by taking notes (like a journal). Maybe one day you put them a little higher and maybe the next you angle them slightly differently. ![]() It’s always different because you can experiment with the precise location of your microphones. I really like the “Recorder Man” configuration though and I’ve used ORTF as well. Do this with stereo imaging if it is not already to avoid phasing issues that could. It is standard for both the snare drum and the kick drum to be set as mono and not stereo in the audio mix. Perhaps they’ve all got their place in different situations, but for the moment I can’t really settle on anything as my “main” method. Mix your kick drum compression on the heavier side, as this will give you the ability to make the volume of the sound louder when you are finished (if you want to). To be completely honest, I’m still deciding for myself which of these microphone configurations I should use. I’m certain that you weren’t expecting so many different possibilities out of 2 microphones! We haven’t even covered some of the more advanced techniques, but that’s because I wanted to get you started right away.Įither way, the stereo recording techniques we discussed are the ones most commonly used. How I personally record drums with 2 microphones ![]()
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