Técnicas Vintage para Grabar Baterías

One Mike? Done

Starting with the simplest setup possible, it doesn’t get much easier than a one-mike operation. Although sonically limiting and leaving a little something to be desired, the one-mike strategy can be just what the doctor ordered, if given the right drummer and the right song. Ribbon and condenser microphones are the best candidates for the leading role in this one-mike show, with condensers typically being more sensitive to higher frequencies (this can be both good and bad, as they are brighter, but can also be on the brittle side).

The three best locations for this rather important piece are as a room mike, a drummer’s perspective mike, and a front-of-kit mike. The room position (a minimum of 10' from the kit) has the most ambience and sounds farthest away. The front-of-kit (approximately 2' back from the kick and 4' up), meanwhile, is the punchiest. But the drummer’s-perspective position might just be the most realistic. This author’s personal favorite is the front-of-kit position because it captures everything, especially a strong kick (much stronger than the drummer’s perspective).

Also keep in mind that the one-mike method is married to a certain natural, harmonically chaotic vibe. Because this isn’t a pristine controlled recording situation (it’s the exact opposite of the close-miked Steely Dan tones), it’s only recommended for folks that can go with the flow and embrace the dirt.

Two Timing

Because most entry-level audio interfaces come with only two XLR inputs, learning to milk two mikes is a very valuable money-saving skill. Looking at it as an efficient means of making a mountain out of an audio molehill, and not a limitation, a second mike with its own separate track can really add just enough sonic control to salt a mix and bring out some real flavor. The two main positioning strategies to maximizing auditory potential are either with both microphones as distant-mikes, or with one as a distant-mike and the other as a close-mike. Both can sound great, but there’s an interesting balance of power between the two methods. With two distant mikes, it’s possible to get more of a stereo image of the kit. With one distant and one close-mike, stereo imaging is stymied, but there’s more control over the tone of a specific drum. Here are two excellent means to recording with only a pair of microphones

Drumming Strategies

Getting a good drum mix isn’t only up to the engineer, as the drummer plays an even more critical role. The less microphones used puts that much more responsibility on a solid, balanced drum take, as it’s less possible to polish an erratic and disjointed performance with studio magic. Wimpy snare cracks and pussyfooting tom rolls combined with overbearing trashy cymbals can be the death of the backbeat, and a minimalist setup can’t resuscitate that kind of issue. Sensitivity and awareness are key, and drummers that learn to mix by playing have plenty more work in their future, so set up some mikes, mix from the sticks, and give the faders a rest.

*Artículo original por Jake Wood
Redireccionado de: http://www.drummagazine.com/plugged-in/post/minimalist-drum-miking-techniques/