Emilie Meyer
The Recorderman approach to tracking drums involves setting up two overhead microphones to capture a balanced and phase-accurate stereo image of the entire drum kit. The first mic is placed two drumsticks' height directly above the kit, pointed at the snare. The second mic is placed over the ride cymbal side of the drummer's shoulder, also pointed at the snare. The distance between the mics and the snare/kick drum is important to ensure a balanced sound. While some prefer to hard pan the overheads, others opt for a narrower pan for a more natural sound. Ultimately, the panning technique depends on personal taste and the desired sound.
| Characteristics | Values |
|---|---|
| Microphone Setup | Two "overhead" microphones that capture a balanced and phase-accurate stereo image of the entire drum kit. |
| Microphone Placement | First mic: two drumsticks' height directly above the kit, pointed at the snare. Second mic: over the ride cymbal side of the drummer's shoulder, also pointed at the snare. |
| Microphone Distance | Both mics should be equidistant from the kick and snare drum, with the distance equal to the height of two drumsticks end-to-end (approximately 40 inches). |
| Panning Techniques | Hard panning, narrow panning, or a combination of both depending on the desired sound and workflow. |
| Stereo Imaging | The goal is to achieve a mono sound for the kick and snare drums while creating a stereo image for the rest of the kit. |
| Microphone Types | Various types mentioned, including Coles 4038, Crown PCC-160, SP C4 with cardioid caps, B3, and 421s. |
| Additional Microphones | Close snare mic, kick mics, and room mics are sometimes used in addition to the overhead mics. |
| Live Recording | The Recorderman setup can be used for live recording with appropriate adjustments for the venue and equipment. |
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What You'll Learn
- The Recorderman setup: 2 mics, 40 inches apart, equidistant from the snare and kick drum
- Positioning the first mic: 2 drumsticks above the snare, pointing at it
- Positioning the second mic: over the drummer's shoulder, pointing at the snare
- Combining multiple mics: blending room mics and overheads, and combining drum mics before hitting tape
- Panning techniques: hard panning, narrow panning, and audience perspective panning
The Recorderman setup: 2 mics, 40 inches apart, equidistant from the snare and kick drum
The Recorderman setup is a close-overhead technique that uses two microphones to capture a balanced and phase-accurate stereo image of the entire drum kit. The technique was created by Eric Greedy and used by Eric "Mixerman" Sarafin on Hazy Malaze's self-titled album in 2002.
To set up the Recorderman technique, position the first microphone about two drumsticks in height (approximately 40 inches) directly above the snare drum, pointing straight down. Place the second microphone over the ride cymbal side of the drummer's shoulder, also pointed at the snare. Both microphones should be equidistant from the snare and the kick drum to avoid phase issues and ensure a balanced sound. To measure the distance accurately, use a mic cable or a long string. Hold or tape one end against the kick drum where the beater makes contact with the head. Pinch the cable at the point where it touches the first microphone, and then tape the other end to the top head of the snare drum. This forms a triangle shape, which you can use to verify that both microphones are equidistant from the kick and snare drums.
The Recorderman technique aims to achieve a mono sound for the kick and snare drums while producing a stereo effect for the rest of the kit. This results in a punchy, clean, and dry sound that places the listener in the middle of the drum kit. The close positioning of the microphones to the kit allows for a tight sound that works well in small recording spaces.
When panning the overhead microphones in the Recorderman setup, there is no definitive rule, and it ultimately depends on personal preference. Some engineers prefer to pan the microphones hard left and right to achieve a wide stereo image, while others opt for a narrower pan for a more natural sound. Experimentation is key to finding the best sound for your specific setup and artistic vision.
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Positioning the first mic: 2 drumsticks above the snare, pointing at it
When setting up a Recorderman configuration for drum recording, the first step is to position the initial microphone, which serves as the foundation for the entire setup. This microphone should be placed at a height of two drumsticks above the snare, pointing directly at it. This placement is strategic as it captures the snare's sound source directly, ensuring a clear and focused sound.
The specific height of two drumsticks, or approximately 8-10 inches above the snare, is chosen to achieve an optimal balance. It ensures the microphone is close enough to capture the snare's attack and tone while maintaining sufficient distance to avoid picking up excessive drumstick sound and potential unwanted noise. This height also allows the microphone to capture some ambient sound from the room, contributing to a more natural and rounded snare sound.
To visualize this setup, imagine the microphone hovering just above the drummer's hands as they play the snare, capturing the full force of the snare hits. This placement ensures the snare remains the primary sound source in the mix, providing a solid foundation for the rest of the drum kit's microphones to build upon. It is crucial to ensure the microphone is securely fastened at the chosen height to avoid any accidental movement or vibrations that could impact the sound quality.
Additionally, when positioning this first microphone, it is essential to consider its angle and orientation. Pointing the microphone directly at the snare ensures the sound is captured accurately. Depending on the specific drum kit and room setup, minor adjustments to the angle may be necessary to avoid unwanted sound reflections or bleed from other drums or cymbals. However, generally, a direct line between the microphone and the center of the snare is the ideal starting point.
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Positioning the second mic: over the drummer's shoulder, pointing at the snare
When employing the Recorderman technique for drum recording, positioning the second microphone over the drummer's shoulder, aimed at the snare, is a crucial step in achieving a comprehensive and balanced sound. This placement ensures that the microphone captures the snare drum, which is often considered the heart of the drum kit, providing the essential snap and crack of the drums. Here's a detailed guide on how to position this second microphone effectively:
Drummer's Perspective: Begin by standing next to the drummer and visualizing their perspective. Imagine the snare drum as the focal point, with the microphone capturing the energy and dynamics of the drummer's performance.
Microphone Height: Position the microphone at a height that aligns with the rim of the snare drum or slightly above it. This height ensures the microphone captures the attack and body of the snare while avoiding excessive cymbal bleed.
Distance and Angle: Place the microphone at a distance and angle that captures the snare drum effectively. Consider the room acoustics and the desired amount of room sound in the recording. Adjust the microphone's position to ensure it captures the full depth and character of the snare drum's sound, including the rattle of the snares.
Shoulder Position: Find the ideal spot over the drummer's shoulder for microphone placement. Take into account the natural acoustic curve created by the drummer's body, ensuring that the microphone captures the projection of the snare sound.
Cymbal Bleed Management: Address the challenge of cymbal bleed by angling the microphone away from the cymbals and towards the snare. Consider using a microphone with a cardioid polar pattern to reject sound from the sides and focus more specifically on the snare drum.
Fine-Tuning and Monitoring: Listen attentively during the drummer's performance and make subtle adjustments to microphone position, height, and angle as needed. Aim for a balanced and crisp snare sound that sits well within the overall drum kit mix.
By carefully positioning the second microphone over the drummer's shoulder, you'll capture the essence of the snare drum, contributing to a dynamic and powerful drum recording.
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Combining multiple mics: blending room mics and overheads, and combining drum mics before hitting tape
The Recorderman approach to tracking drums is a simple and quick drum-miking setup that only requires two "overhead" microphones. This method has become increasingly popular over the last few years due to its ease of use and the excellent results it delivers. The two microphones are positioned at a height of about two drumsticks directly above the kit, pointed straight down at the snare. One is placed over the ride cymbal side of the drummer's shoulder, pointed at the snare, while the other is positioned directly above the snare.
When combining multiple mics, such as blending room mics and overheads, the setup and panning techniques may vary based on personal preferences and the desired sound. Some users suggest placing the room mics far apart and blending them with overhead mics placed closer together to create a narrower image. Others recommend experimenting with different panning positions, such as hard left and right panning, to find the sound that best suits the user's taste.
When working with a limited number of tracks, it is common to combine all the drum mics, except the snare and kick, before hitting the tape. This results in a stereo image on two tracks of the tape. However, if using only two overhead mics, it is suggested to give each mic its own track to allow for separate control over panning and blending during the mixing process.
Additionally, spot mics can be added to the Recorderman technique, such as kick and snare mics, to enhance the overall sound. It is recommended to experiment with different mic positions and techniques to find the setup that best suits the user's preferences and the specific drum kit being recorded.
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Panning techniques: hard panning, narrow panning, and audience perspective panning
Panning is a powerful tool for sculpting the stereo image of your mix. It allows you to place instruments from left to right, determining the left and right walls of your mix and how close each instrument is to them.
Hard panning is a technique where each instrument is placed at either the extreme left or right of the stereo field. This creates a wide and immersive stereo image. The Recorderman setup, for example, often employs hard panning to achieve a balanced and phase-accurate stereo image of the drum kit. This involves placing microphones at specific positions relative to the snare and kick drum to capture an accurate stereo image.
However, some producers prefer a narrower panning approach for a more focused and powerful sound. Narrow panning keeps instruments closer to the centre of the stereo field. For instance, one user expressed their preference for narrower panning when using the Recorderman setup, stating that it sounds "more natural" to their ears.
Audience perspective panning involves placing instruments in the stereo field based on their positions on stage during a live performance. This approach aims to recreate the experience of watching a performance from the audience's perspective. For example, in a drum kit setup, the hi-hat would typically be panned to the right to match its position on stage.
Ultimately, the choice between hard panning, narrow panning, and audience perspective panning depends on the desired effect and the producer's artistic preferences.
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Frequently asked questions
The Recorderman setup is a method of recording drums using two "overhead" microphones that capture a balanced and phase-accurate stereo image of the entire drum kit.
There is no one way to pan the microphones in the Recorderman setup. Some people prefer to pan them at 9 and 3 o'clock, while others prefer to pan them hard left and right. Ultimately, it depends on your taste and what sounds good to you.
The Recorderman setup is easy to understand, easy to set up, and gets great results. It is also less stressful than other engineering recording methods and sounds good even in mediocre rooms.
