drum micing

[aworldofviolets]

My band is going to be recording again in about a month, we play what could be considered metal by some, and i was wondering if anyone had any tips as to micing the kick drum to get a big, punchy sound without triggering. We don't want anything over the top, but the kick has barely been audible in our past recordings. any other drum micing tips would also be appreciated

it's hard to say the sound we're looking for, but nothing as extreme as say unearth or as i lay dying, more along the lines of Josh Freese on A Perfect Circle's Thirteenth Step

[Happy_Squirrel]

Well, forgive me for stating the obvious, but if it's been barely audible in the past, what about turning up the kick drum mic in the mix?

When you say you want a "big, punchy" sound, do you mean you want more bass? Basically, a general rule is to move the mic closer to the batter-side head for a more "clicky" sound with more definition to the actual strike, and move the mike farther out for a less-defined but bassier sound.

If you really want to kick it up a notch and move it way out for a lot of bass, you might try a trick that I've read in several drum mags (and has also been suggested by Mos & others on here): take a second bass drum, if available, and use it (without heads) as an extension of your kick drum by placing the second drum shell right in front of it. Then place the mic somewhere inside the secondary (extension) shell.

You might also try experimenting with the lateral/angular placement of the mic. Try pointing it dead center on the beater and then try moving it off center and see if you can find the tone you're looking for.

By the way, which kick drum & mic are you using?

[aworldofviolets]

yeah i should have been more specific about that, its difficult to explain and i'm not good with words and especially describing sounds, but when we turn up the kick it over powers the mix, but when we put it at a comfortable volume its hard to hear. I know that doesn't really make sense, but its more about the actual sound of the kick rather than its volume. Also, its been about a year since we last recorded so i don't remember exactly how it sounded when we adjusted the level.

thanks for the other advice, i'll have to get back to you with the mic and drum info, i'm neither the drummer nor the sound engineer. All i know about the drums is they're Tama, they're about 3 years old, and they are probably about an upper to midgrade series, whatever that would be

[Motleyguy]

when you're micing your kick, use two mics if possible. One for the close micing (inside the drum itself) and one outside as a distant mic. This will add distance, which is equivalent to reverb, adding warmth to the sound and give it a bit more punch. If you can't find what you want by micing, try subtractive EQ between the kick and the bass. This way the two won't be masking each other. EQ a frequency out of one, to make it more prominent in the other. One instructor I once had said to cut around 80Hz, (which is where the low end in the kick lies) so you get that really clicky sound, which I like to call the equivalent of a "fist hitting raw meat". I personally don't like it, but it's the sound alot of metal bands strive for. Another thing you should remember is proximity effect, which is basically the fact that the closer the mic is to the sound source, the more low end you'll get out of it. When i Mic'd the kick for my bands demo I put it in side the kick, about half way in, and slightly off angle. Check out the recordings at http://www.myspace.com/blackcitylights

[kidthatplaysguitar91]

Well for EQ goes, you make the bass drum the bassiest when your doing EQ. The bass is more of a mid-bass instrument. Bass drum is the real bass.

I've heard of taking off the head where you have the hole to get a less boxy sound. But if you dont want to do that, EQing should change it alot.

[Motleyguy]

Well for EQ goes, you make the bass drum the bassiest when your doing EQ. The bass is more of a mid-bass instrument. Bass drum is the real bass.

I've heard of taking off the head where you have the hole to get a less boxy sound. But if you dont want to do that, EQing should change it alot.

No you don't. If anything, you wanna cut the low end of the kick. The low end of the kick lies right around the fundamental note on the E string of a bass. either EQ them together, or cut one, preferably from the kick. On my latest recordings, I boosted 60Hz in the kick, and 80 Hz in the bass, and it worked out well, but we had great tones for both to begin with, and that's what worked for the recordings. Fix things with micing before you even think about EQ though. Having a good signal to start with is always better.

[The Chemist]

No you don't. If anything, you wanna cut the low end of the kick. The low end of the kick lies right around the fundamental note on the E string of a bass. either EQ them together, or cut one, preferably from the kick. On my latest recordings, I boosted 60Hz in the kick, and 80 Hz in the bass, and it worked out well, but we had great tones for both to begin with, and that's what worked for the recordings. Fix things with micing before you even think about EQ though. Having a good signal to start with is always better.

I roll off below 80 on bass drum, and add a SMALL boost at 80 (about 1 dB), cut at 150 by about 6 dB, and boost anywheres between 5-10 kHz with a fairly narrow Q and a boost of about 5 dB.

Bass, I boost the 150 range by a bit.

[aworldofviolets]

thanks a lot, you've all definitely given me some good advice, we're not recording for another month or two, but when its done i'll have to post it and you can hear how it turned out

[Motleyguy]

I roll off below 80 on bass drum, and add a SMALL boost at 80 (about 1 dB), cut at 150 by about 6 dB, and boost anywheres between 5-10 kHz with a fairly narrow Q and a boost of about 5 dB.

Bass, I boost the 150 range by a bit.

I usually cut around 200, rather than 150 on the kick. That whole area is nasty on the kick though (150 - 300). But nothing is set in stone, it all depends on the signals, and what is called for in the mix. I judge it off that, then figure out what I'm gonna do with it.