by martcaster » 15 Jul 2012, 17:32
An interesting thread, this, and to echo Paul's sentiments, a refreshing change from talk
of PUPs, tap delays etc. I feel I must clarify what is, perhaps, a mis-understanding of
my approach to mic-ing drums. I well remember saying to Paul..." just'it 'em 'arder!" as
I've often done at venues where drum mikes were not an option (unavailable/venue not big
enough/whatever) But where mikes are available AND the size of the venue is suitable AND
you have a sound guy who knows what he's doing and not just twiddling for the sake of it,
then, and only then, go with the mikes. Ray is quite correct in his take on the dynamics
of the thing (NEVER attempt to play Nivram with 7lb hammers at the NEC!!) Our practice
venue is always littered with drumstick shards and I despair....does nobody ever tell
these kids?! I believe the drummer's place is at the back providing augmentation for the
rhythm player with the ride/hi-hat, emphasis as well empathy for the bass player's lines
and a solid time for the lead (they WILL rush things, don't you find?) If we know
anything at all, on this site, it's that 'That Sound' comprises of clean,well articulated
lead lines, powerful, driving rhythms (or delicate arpeggios where necessary), solid,
emphatic bass lines and a driving drum part which is in total sympathy with all of the
aforementioned. Get these right, and talk of volume/balance should be secondary. Most of
the venues which most of us play in, most of the time do not require mic-ing up and
"balance" can be achieved by sitting in the middle at the back. (You'll know when the
drummer's balanced correctly...he dribbles out of both sides of his mouth equally)
Of course, all of this talk can be rendered redundant by the use of electronic
drums with a half decent interchangeable 'library' or a system which uses the likes of
Addictive Drums of BFD2. Do the mixing at home, then stand at the bar and wait for the
bass player to get his hand in his pocket. See you all at Frimley.
Mart.