Percussion microphone

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Under Schlagzeugmikrofonierung is a procedure in the tone technique , which makes it possible to provide a drum of the same or parts to increase or resume. For this purpose, special microphones are used, each of which is designed to pick up the sound of a drum or a cymbal . There are differences in the selection of microphones depending on the area of ​​application: In the live area, different (and usually fewer) microphones are used than for studio recordings.

General

The complexity of percussion microphones is particularly evident with so-called overheads. These are small diaphragm condenser microphones that are used to remove the cymbals (i.e. hi-hats , crash cymbals , ride cymbals , etc.). In addition to the cymbals, these special room microphones also record the entire drum kit. In professional sound engineering, there are special concepts for setting up and selecting microphones.

Microphone types

Which microphones are used depends heavily on the style of music and the ideas of the drummer or sound engineer as to how the drums should sound later in the recording. In Jazz fewer microphones are used, for example, than in pop - and rock productions . The individual instruments of the drums and the "classic" microphones for their acceptance are

  • Snare drum : dynamic microphone
  • Tomtoms : one dynamic microphone each
  • Floor tom: dynamic microphone
  • Basin: Small diaphragm condenser microphones, sometimes large diaphragm condenser microphones
  • Bass drum : large diaphragm or boundary microphone

Phantom power is required for the overheads (condenser microphones) to operate the technology they contain. The drummer can choose between a single overhead (mono signal) and a “stereo pair”, i.e. two microphones from the same manufacturer (stereo signal). These microphones are mounted in different positions on a microphone stand. The most common procedures are:

  • the AB method, in which two small diaphragm microphones are set up parallel to one another on a stereo rail
  • the ORTF method, in which the rear part of the microphones is crossed with the connections and
  • the XY process, in which the front of the microphones are mounted crosswise on a stereo rail.

Depending on the style of music and, in some cases, personal taste, the sound engineer or drummer will choose and set up one of the above methods. All other microphones are usually dynamic microphones. You need normal amplifiers ( mixer ) to amplify the input signal; phantom power is not required with dynamic microphones. There are no general guidelines for the placement of these support microphones as there are for overheads. The sound engineer will decide in each situation which microphone position is the right one. The overheads are also supplied with power via the mixer, with phantom power being switched on here. The signals are then processed in the recording studio and completed together with the other instruments for the sound carrier.

Sound check in the professional field

The sound check is an important check after the drums have been miked. Here the correct pick-up and pick-up of the drum kit is critically checked by the position of the microphones. In addition, all the necessary settings are made on the mixer. While the drummer is playing on the microphoneed set, the sound engineer can make all the important settings on the mixer that are important for a good reproduction of the drums on the PA (amplifier system). The same applies in the studio area for admission . For reasons of particularly good sound quality (in the sense of recording sonic subtleties), more testing is usually done during and after the recording than in the live area.

For the stage operation, many sound engineers have some more or less fixed concepts that they use for miking the drums, because live usually there is no time for elaborate experiments with the method of miking. The same goes for drummers when it comes to setting up the drums. Before a performance, the prior agreement between the sound engineer and the drummer, but also the other band members, is particularly important. The drummer has a high level of responsibility before the sound check (and during it) insofar as he is responsible for the sound quality of his drums. He does justice to this by coordinating the sound of the individual drums in his set and (usually) ensuring that his drums sound full and, if necessary, assertive. He should be particularly critical when tuning the drums. During the actual sound check before recordings or a performance, the drummer should play as dynamically as possible (i.e. sometimes particularly quietly, but especially when loud songs are played, also at the volume for louder pieces).

Use in the private sector

Many amateur drummers record their set at home to play for the band or friends. Here mostly a little cheaper microphones are used, which have technically similar properties to the professional microphones. Since amateur drummers often cannot spend the money they need for expensive mixing consoles, an audio interface with one or more inputs and an optional phantom power supply is usually used for so-called home recording. Audio interfaces amplify and process the audio signals and usually send them to a recording computer via USB or Firewire .

literature

  • Carsten Kaiser: Homerecording , bhv, Frechen-Königsdorf 2009, 2nd revised. Ed., ISBN 978-3-8266-5546-3 , pp. 631 ff.
  • Carlos Albrecht: The sound engineer: miking acoustic instruments in pop music; Live and studio setups , Fachverlag Schiele & Schoen, Berlin 2010, ISBN 978-3-7949-0806-6 , p. 6 ff.

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