Barry Rudolph: Drum Miking T echniques pt.

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Drum Miking
Techniques pt. 3
Bass Drum

Barry Rudolph

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Professional Microphone Techniques, with
CD, Vol. 2

by David Miles Huber

Contributing Editor

Bass Drum
The kick or bass drum is easy to record since it is usually played (in pop music) at the same volume
throughout the song. Producers and engineers look for a "marriage" of the bass drum with the bass
instrument because they both occupy and make up the important bottom end of the record. Fig. 3 shows my
usual starting place for the bass drum mic. The Beta 52 in the picture is placed half in and half out of the hole
in the front head. This distance is variable and I try to keep the mic pointed exactly at the spot on the rear
head where the beater hits. Fig. 4 shows an old '70s' trick where the microphone goes right inside the drum.
This produces a very present and dry sound that was great for disco music before the Linn drum machine.
You should put a weight (sand bags are good) to hold the mic in place inside the drum.

Fig. 3: Starting place for drum mic

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Barry Rudolph: Drum Miking T echniques pt. 3

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Fig. 4: Alternate drum mic placment

Some engineers like to place a second mic further out in front the kick drum to get a more ambient bass drum
sound. I have used a PZM (pressure zone microphone) for this and just loved the sound. Mixing the two mics
is touchy business and I recommend using a separate track for this mic. You will also get a lot of spill from
the rest of the kit that could wash out the total drum sound if this mic is monitored loudly. Another mic position
I have used is a second mic aimed at where the beater hits the rear head. This mic is place next to the kick
drum pedal. You'll get completely different bass drum sound that might work great for your song but don't
expect too much low end from this mic.
Microphone Choice
I like the Shure Beta 52, the AKG D-12 or D-112, and the Sennheiser MD-421U. I am little reluctant to use a
condenser or ribbon mic on the kick drum since a lot of air pumps straight out into the mic. This air blast can
dislodge a ribbon or damage the capsule of a condenser. There is also a high Sound Pressure Level (SPL)
present that can overload and distort; besides I have other better uses for condensers during a drum session.
If you want to try a condenser on the kick, try the new Sennheiser e865 hand-held that will take 150dB SPL.
One good trick is to use a compressor when recording the bass drum. I don't want a "compressed" sound
here so gain reduction is almost zero...one to two dB max. I am looking for the added low end the
compressor will bring up...it is different from just equalizing in low frequencies. Added low frequencies never
sounds very good to me...sounding more like the equalizer than true bottom. You can help a drummer who
has an uneven bass drum level with a compressor, but you have to commit to a super heavy squash to fix
this problem. Starting out compressor settings would be a medium attack time and a 3:1 ratio.
Article Continues >>>
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