UPDATE – 8 Jan 2010
Phew! A great day with Greg, Sean, Simon, James and George filming the drum recording masterclass at Modern World Studios today.
Lot’s of people turned up to watch and take part, most questions posted below in the comments section were answered. Now to get editing!
There will be a number of bite sized videos coming over the next week.
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Following huge demand, this Friday, 8th January, we are launching our recording and mixing techniques workshops. Every month we will be filming a group of leading producers and engineers discussing and demonstrating practical techniques in the studio with questions from our viewers around the World. This month we are at Modern World Studios in the UK and are starting at the beginning with an advanced drum recording session. Each month we will cover every type of recording and mixing with tips and tricks from some of the most respected and creative people in the industry.
This month’s engineer panel:
James Towler
MPG winner and 2 x Grammy nominated engineer and producer
George Shilling
Engineer, producer, musician, writer
Greg Haver
Producer, engineer, musician
Sean Genockey
Producer Engineer
Simon Turner
Lecturer and composer
Come join us and share your techniques or ask the panel questions. Contact Nick Cowan at the studio to get your invitation. Places are limited so hurry!
If you can’t be there send your drum recording questions. Can’t get the kick sound you want? Too much splash from the top kit? Whatever your questions, we will try to find a solution!
Send us your questions in the comments box on THIS page!
About recordpr
I’m gutted that i can’t be there as its too far from me, but im sure it will be a very interesting workshop with lots of handy info. My main question i would like to know is, what are the best microphones to use and where to put them? i ask this because the ones i use are fairly cheap and don’t have a very good quality in comparison to professional recording. I have been to a professional studio recently where they used techniques such as putting a room mic about 10 feet away, and they used much more expensive microphones and in a different place. I know this is a very big question but i hope you can answer it as best you can
All the best,
Christy from Lowestoft
what are your thoughts on going simple – say 3 mics; 2 overhead and a kick VS close miking the whole shebang? what would be the advantages and disadvantages of each? what is your view on the importance of the room? what is IYO the best recorded drum sound? I heard Bonham was unhappy with his sound, but he’s on the top of many peoples most admired.
sounds great !!! im having a problem in my mixing on some track with the snare n bass drum getting them to punch out in the mix can be a problem. im miximg a heavy rock album i do try keepin them loud but the snare is missing some weight!! any solutions the drums have been recorded wel its just the mixing thats the problem.
thanks for the help!! !!!
Ronan
Many of us with home recording studios have smaller spaces with which we have to record drums. My space is 9′L x 6′w x 7′H.What tips would you have as far as micing technique,compressor use, room treatments etc. to get the best recorded drum sounds we can.
Thanks in advance
Kevin MacShane
Really wish I could make it to this, it sounds like an awesome workshop! Hopefully will be able to attend some in the future though.
Got a few questions to ask,
What do you find better, recording in a large room and capturing the sound of the room and being committed with that spatial representation, or recording in a more controlled environment and then adding reverb later and having more control over the sound of the space?
Whats your opinion on using samples? Do any of you regularly record drums with triggers to capture MIDI signals or audio pulses to help with adding samples later?
I’ve always had problems getting a good drum sound however have started to use the technique that Michael Paul Stavrou explains in the excellent ‘Mixing With Your Mind’. The basic premise is that you go around the room with the floor tom till you find somewhere where it sounds great, then you build the drum kit around the floor tom. One overhead mic is placed directly above the floor tom and the other overhead is placed over the snare/hi hat in a place that is phase coherent to the first overhead. The idea is that you put the overheads up first and then work your way around the rest of the kit, always checking the close mics with the already placed overheads. I’m pleased to report that my drum recordings are now sounding much better but I was wondering how you guys find this technique and how do you feel it compares to other micing and placement techniques?
And finally, please come and do a workshop in Liverpool!
Thanks a lot and I look forward to your answers and the video from the workshop,
Jonathan
Thanks for the questions. Assuming the snow doesn’t stop us (a possibility) these questions will be answered – hopefully
More questions are very welcome!
can’t access to forum. why?
can chang this forum to another site?
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from China.
You probably can’t access the forums in China because of some political reason?
Sounded like a great resource and I’ll be sure to pass this on to our members.
We would love it if you would stop by and answer a few questions for us.
We have a bunch of budding engineers that would love to hear from you.
http://recordingquestions.com