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Drum recording tips. Great drum sounds with only two mics or two inputs.

December 5th, 2009 | 98 Comments   « Previous  |  Episode 13  |  Next »

In this episode I look at getting cool drums sounds in a home studio set-up with only two inputs available (like with a Digidesign mbox or Apogee duet). I use two mics on an cheapo drum set with 10 year old drum heads, spend 2 minutes miking and a few minutes mixing and see what I can come up with. Great if you think the Glyn Johns Method is excessive!  Ringo Starr made cool Beatles records with only 2 mics. So can you!

There are examples of the tracks mixed in my pro set up with analog gear and console, as well as examples mixed in the box with stock digi plug ins. They are not a good comparison of analog vs digital mixing, the ITB example is only there to show how good it can sound with almost no gear and minimal effort.

Embed

To listen to 44.1/16 wav audio of the raw and final tracks here (the raw tracks are hard panned left-right so you can do your own mix) Please note that the processed files are “louder” than the raw tracks.

You can download an iTunes friendly M4v file here

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Rating: 4.9/5 (63 votes cast)
98 Comments ~ Speak your mind »
  1. ariel

    wonderful episode, so instructive and inspiring, thanks!

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  2. Darrin

    Nice tips…Im kinda lucky to have enough mics and inputs to do what I want but so many out there only have 2 inputs.
    I think it was important to note that the KSM32 is an LDC and will be better at getting that tom and snare sound than most SDC mics…alot of people associate SDC with acoustic instruments and overheads.
    Ive been using a pair of AT3035 mics as overheads…I saw an online video from Gretch drums that had a decent sound only using one 4′ above the drummers head…but I may sell them both and buy another KSM32 to use on my drums and Grand piano.
    I did notice that you were sitting in front of a very large organ…are you trying to compensate for something?…lol.

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  3. laperle studio

    great I’m happy to see what you can do with it, and I need more analog gear… you cost me a lot!

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  4. Ronan


    I think it was important to note that the KSM32 is an LDC and will be better at getting that tom and snare sound than most SDC mics…alot of people associate SDC with acoustic instruments and overheads.

    I did notice that you were sitting in front of a very large organ…are you trying to compensate for something?…lol.

    Thanks for the input Darrin. I really appreciate it The KSM32 is technically a medium diaphragm condenser, but your point is still spot on. The KSM 32 is my favorite overhead mic at any price point. I will be doing a whole show about it in the future. As for your last point…. I guess I will have to leave that one a mystery.

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  5. Ronan

    great I’m happy to see what you can do with it, and I need more analog gear… you cost me a lot!

    I prefer mostly analog gear for most of my professional work, but do not lose hope. You should be able to make really cool stuff with what every gear you have. Just be creative.

    Also The example are really not a fair analog vs digital comparison. I just wanted to have something really simple for people that might only have an mbox and stock plug ins. The analog set up is just the one I have set up everyday for my pro work and it was easy to tweak. If I had spent more than 25 minutes doing all six mixes I am sure I could have gotten the “free plug ins” mix sounding a lot better. (and the analog ones as well)

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  6. Ed

    I really enjoyed this episode. I was wondering if you used an attenuator pad on the kick mic,and if so, what was the db? Thanks.

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  7. Ronan

    I was wondering if you used an attenuator pad on the kick mic,and if so, what was the db? Thanks.

    The kick drum was a Shure Beta 52 into an A Designs Pacifica straight into the stock converters on an old Digi 888/24. I used the pad on the mic pre which I think it 20 dB.

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  8. Richard Bryant

    Nice Ronan!
    Another 2 mic setup I’ve ran across is two Ribbons,One overhead and the other out front of the kik Starting out about 18″ and anywhere from 6″ to 18″ off the floor.I’ve used 2 Michael Joly Modified Apex 205’s and gotten a lovely old school sound. Of course checking for phase is always important!

    Great series of shows!!

    Richard

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  9. jhk

    This one was really helpful. I’d haven’t thought of giving the snare mic a channel of its own and I thought that dry sound would have required more close micing. And of course it’s nice to finally have something to listen to. :)

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  10. John J

    Hey Ronan! Thumbs up! From a drummers point of view I know what I’m looking for long before I start pulling out mikes. You are correct when you say (get it right at the source) that things have to be done (jazz sounding, rock sound…,) up front and according to your genre. Great stuff! I always come away with something here. Thanks your point is well taken.

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  11. hue

    Haha! Awesome. And, look ma! NO phase problems!

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  12. Modern Human

    Ronan! Awesome show again! Even though I have access to a lot of inputs, it’s great to think of creative new ways to record drums. Keep it up man!

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  13. toro

    yeah this works for me RR, i don’t use more than eight channels to record full bands, sometimes 12 piece combos, it works !! thanks for the tips Ronan

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  14. Ronan

    Another 2 mic setup I’ve ran across is two Ribbons,One overhead and the other out front of the kik Starting out about 18″ and anywhere from 6″ to 18″ off the floor.I’ve used 2 Michael Joly Modified Apex 205’s and gotten a lovely old school sound. Of course checking for phase is always important!

    Richard, Thanks for chiming in with this. I have done a similar thing with two condensers. A U47 out front and a KSM 32 over head. Its great for nice organic drum sounds. Tough to get modern rock/pop punch, but lots of records do not need that.

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  15. Ronan

    Haha! Awesome. And, look ma! NO phase problems!

    Actually less phase problems, but its not a phase free lunch. Any time you have two mics summed together where the capsules are not coincident, you have phase problems of some sort, so its still a good idea to check.

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  16. John

    Ronan,
    Not sure the downloads worked correctly…
    Both versions sound “white” to me! {:-D
    It’s great to see these techniques revived, and so nicely taught.
    You really ended up with a good meaty snare on the analog mix too.
    More proof that the free Digi plugs just do not have the horsepower or elegance of the higher end goodies that are getting closer to hardware.
    Thanks again for another great show!

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  17. Enigmafon Records

    Hi Ronan.
    Thank you for taking the time and sharing your knowledge with us.
    Could you give everyone here a quick run down of the analog chain you used in the analog mixes. Also, what mic did you use for the snare in your second setup?

    Thanks!

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  18. Steve

    As a drummer I liked this one.
    My first Kit was a rockstarDX! I totally recognized that kit.
    One thing I did with 3 channels once back in the day…for a Metal song…Ha, Was this. Kick, Snare, Oh. Kick and Snare center, with the OH panned like 30 to a side. I cloned the snare track and drastically filtered out everything under 2K ish so it was Mainly the Hihat bleed, and Panned that out 100 Percent in the other direction. It sorta worked after I triggered the Kick.
    Thank God for my 18 Input system now!

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  19. RTR

    Love your show ronan, thanks for this great info!! See ya on GS!!!!!!

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  20. Dave K.

    great show!!!!

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  21. Kern

    Hey, found this site and love it. Wow, good stuff! Anyhoo, reminds me of my four track days. All I had was one EV mic and a cheesy drum kit with terrible cymbs. Made it work just like you posted about. Never say “You cant”, there is always a way. Get good with what you have, and dont say ” if I only had a……..”

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  22. Ronan

    Could you give everyone here a quick run down of the analog chain you used in the analog mixes. Also, what mic did you use for the snare in your second setup?

    Not sure I remember exact details and I just used stuff that is normally up and patched in to know the mix out in a few minutes, but the big things I am sure about. EQing was done with the EQ on my D&R Triton console, and both tracks where compressed in parallel using, using an FMR Audio RNC and a Pete’s Place BAC 500. The Reverb was a Lexicon PCM-90. It also went through all the stuff I normally keep on my two buss (A Designs EM-PEQ and Hammer, Manley Vari Mu)

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  23. Taylor Gauge

    Thank you Ronan, this is an awesome technique that us small fish are forced to use often. Once you get the hang of it, you really are not sacrificing much by what you gain having a whole band being able to jam together by freeing up so many channels.

    On another note though, and not to debase what your subtitles said, but I specifically remember 15 mics being used on the last Killdares record. I’m sure though that at least 4 got trashed at mix.

    Thanks again Ronan!
    Every episode gets better and better!

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  24. Dave Keener

    Thanks very interesting!

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  25. Ronan

    On another note though, and not to debase what your subtitles said, but I specifically remember 15 mics being used on the last Killdares record. I’m sure though that at least 4 got trashed at mix.

    Hey Taylor. very nice to hear from you and hear that you enjoying the show. On the last Killdares album, We had the great engineer, Chris Bell, working with us on the drum tracking stage. He was handling the engineering so I could focus on production. We got some killer sounds together, but I would be willing to bet that no more than 10 of those tracks got used when I mixed the album.

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  26. Dave Mallen

    Hey Ronan!

    Enjoyed the video – thanks. Your approach is so simple and provides a solution to a problem I’ve been having, which is how to keep the snare centered in the mix with a spaced pair of overheads panned L-R. So, I know this is slightly off-topic, but for those of us who do want to do stereo overheads…how do you keep the snare (which is not in the center of the kit) in the center?? I may also try your approach (single LDC overhead) in conjunction with a couple of stereo room mics…wonder how that would sound!

    Thanks again!
    Dave

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  27. Allen Wagner

    That was one HELLA cool episode Ronan. It hits on so many core issues of recording in such a succinct manner. A masterpiece of a podcast installment!

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  28. Peter Morgan

    Excellent video – covered a load of info in a concise and helpful way.

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  29. Kathleen Blackwell

    Hey Ronan!
    Great show! …I just wanna know: What-cha drinking before you play those drums? Also, I absolutely love your closing track! Wink ;)
    Kathleen

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  30. Tyler

    great episode, very useful advice!

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  31. Dan

    This was one of your best. Simple and informative. I’m working on recording percussion and drums and these tips were just what I was looking for.

    thanks Ronan!

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  32. jeffj

    Hey Ronan! Loved this one! One thing you mentioned early on is to make sure the drums are tuned. Is there a PROPER way to tune drums? I’ve never actually found anything on the net about proper tuning with demonstration. Most of the bands that I have seen in the last 35 years haven’t got a clue how to properly tune drums for recording. Mostly, they tune them to sound the way they want them to sound. Would it be worth having somebody, if not yourself, do a show on proper tuning?

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  33. Ivette

    What an excellent video Ronan :)
    Thanks for sharing this. Getting the drums sounding the way you want them to from the beginning is so important. A good drummer too!
    When you mixed the tracks did you keep everything in mono in the end? Would you consider duplicating the condensor mic track and panning left and right with it?

    thanks again :)

    -Ivette

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  34. Ronan


    When you mixed the tracks did you keep everything in mono in the end? Would you consider duplicating the condensor mic track and panning left and right with it?


    Thanks for the comment Ivette, On the quick mix I did on these tracks, I kept them mono, but added a bit of stereo Reverb to the tracks. If you duplicate the condenser overhead and pan it left and right, the result would still just be mono unless you added some sort of delay between the two tracks.

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  35. Darrin

    So…a total of 13 mics is what you used for Terri Bozzio (Missing Persons)….how many would you use for say…Carl Palmer (Aja…ELP)?

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  36. Ronan

    So…a total of 13 mics is what you used for Terri Bozzio (Missing Persons)….how many would you use for say…Carl Palmer (Aja…ELP)?

    I would try and get most of the sound from about 5 mics and then puts spot mics I things that might need emphasis or unique processing at mix time

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  37. jack

    Really great !

    I’m just finishing setting up my studio and will be tracking drums
    in a few weeks.

    I think less is more in the way of drum microphones for my set up.

    Cool api tee.. never found one yet.

    Really handy tips..

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  38. Irving Isler

    Loving the show Ronan. Thanks for taking so much time to share some of your experience and love of engineering with all of us. Wishing you the best for a restful, relaxed holiday season.

    Take care.

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  39. Bernie Griner

    Hey Ronan
    Thank You for the videos, I’ve enjoyed them all. I was curious and surprised to see the Event 20/20 monitors on your console. That’s what I’m using because I can’t afford anything else right now. Are they your main near field monitors? I would love to hear your opinion on them.

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  40. Benjamin

    Thanks for the video Ronan

    I have a few friends here in Brasil that understand english watching them too!!

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  41. Shane O'Connor

    nice.

    love me some outboard on drums vs plugins, but without a level match, it was a sorry slap in the face to plugins. the outboard example was way louder than the others.

    awesome podcast regardless.

    ronan i bumped into you at aes to say thank you, still watching… keep it up!

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  42. Ronan

    love me some outboard on drums vs plugins, but without a level match, it was a sorry slap in the face to plugins. the outboard example was way louder than the others.

    Shane, Thanks for your input. I agree with you 100% That is why I mentioned that the tracks were not level matched as part of the show. (the analog mix is also far more compressed) The idea of putting the quick free plug-ins mix on as part of the show was not to show how much better my analog set up is, but to show that you could get some pretty darn good sounds with just the free plug-ins that come with your DAW and a few minutes of work. – Ronan

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  43. Ronan

    I was curious and surprised to see the Event 20/20 monitors on your console. That’s what I’m using because I can’t afford anything else right now. Are they your main near field monitors? I would love to hear your opinion on them.

    Yes, They are Event 20/20bas monitors. I actually love them, and have been doing most of my mixing on them for the last 10 years or so. I am about to get another pair of monitors, but I do not think the Events will do away. I just want to add something different since I am doing a lot more mastering work these days Thanks for watching the show.- Ronan

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  44. Joey

    Cool Video . Never thought of mixing the the kick and Overhead on a track and giving the snare its own track , I’ve got a project soon and they only have 2 inputs for the drums so we’ll probably do it this way .

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  45. Ronan


    Cool Video . Never thought of mixing the the kick and Overhead on a track and giving the snare its own track , I’ve got a project soon and they only have 2 inputs for the drums so we’ll probably do it this way .

    Hey Joey, Let us know how it goes (feel free to post a link to it if you get some cool results.) If you have EQ on the mixer you use to mix the kick and overhead together, it can be a good idea to cut some of the low end off of the overhead track before its gets mixed down. This can often help keep the low end a little more defined and punchy. – Ronan

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  46. Nick_RVA

    Ronan,

    I love this show the best.
    This was very informative and leaves everyone with alot of homework to do.

    Take care,
    Nick

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  48. Ian Shepherd

    Hi Ronan,

    Nice episode ! It’s good to see some minimal techniques being promoted, and to encourage people to go for a real drum sound even with limited inputs.

    I found some great drum tuning tutorials on YouTube which I posted on my blog – some of your readers might find them useful, I hope it’s cool to put the link here ?

    http://productionadvice.co.uk/drum-tuning/

    Ian

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  49. jefferson

    rad. this was a great show.
    not cuz it gave so much specific knowledge or tips
    but it reminds you to go back there and mess around.
    i loved the idea of the snare on it’s own track and kick/overhead
    on another.
    made me wanna go burn everything up and start over,
    see what to come up with next.
    make the best of whatevers around.
    really fun show to watch.
    =(^._.^)=

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  50. Ronan

    Hey, everyone. I just wanted to say thank you so much for all the kind comments!! I really appreciate it. Very happy people are getting something out of the show.

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  51. Jeff

    Ok, call me crazy [you won't be the first] but after listening to this particular show twice I have to say—I liked the sound of the single camera mic better than anything else [a smidge more bass wouldn't have hurt].
    The others just sounded “clunky” to me—but what do I know. Guess my old schoolness is getting its old schooledness on.
    What mic did you use for that and just how far away was it [obviously it was at about chest/head high]?
    Thanks again for a great show [Do you still want the check made out to you personally?]

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  52. scott

    you, my friend, are a god send. an analog minded engineer who wants to teach others how to make good, lasting, timeless music. what a gold mine… keep it coming!! thank you!!

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  53. Radu

    Hi, Ronan!
    Thanks for that episode! Recording of drums is always the most difficult task, especially when a band want prepare some demo with very low budget. I also had some experiments with “minimalistic” drums recording. It’s definitly not easy and require lot of patience from drummer and sound engineer as well. For my ears the best effect from Your video was the last mix, this one with samples. Could be so kind, and give us some more details how did you used samples in that example? It seems to be quite easy when you have every drum on separate track, but in this case toms sound great and they were recorded only by one mic! It’s amazing for me :D

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  54. Ronan


    Could be so kind, and give us some more details how did you used samples in that example? It seems to be quite easy when you have every drum on separate track, but in this case toms sound great and they were recorded only by one mic! It’s amazing for me

    Hi Radu, Nice to see I have fans of the show in Poland. All of the drums sounds on the video were mixed in about 25 minutes total, there are a lot more cool things you can do if you have extra time, bit the way I triggered the samples was quite simple. I duplicated each of the tracks. The snare was easy, I just used drumagog, and the other track that had kick drum and overhead was quite easy as well. I just used a “high pass filter” that cut of everything above about 150hz, and triggered the kick sample off of that low thump. – Ronan

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  55. UkiahBass

    I’ve had some luck recording drums with an Audio-Technica AT-825 stereo mic overhead, and a Sennheiser MD421 on the kick.

    Silly question, but do you think I could mic a snare with an AT803 miniature omnidirectional condenser mic (lavalier)? I’ve got a holder that could position it above the head.

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  56. Ronan

    Silly question, but do you think I could mic a snare with an AT803 miniature omnidirectional condenser mic (lavalier)? I’ve got a holder that could position it above the head.

    Its not a crazy idea. You just have to make sure that the mic can handle the high SPL of the snare drum, and since its omni directional it will pick up a lot of the other drums, especially high hat. The the drum plays well and balances himself it could be a cool sound.-Ronan

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  57. Marwood Williams

    Great information! Thanks for the excellent video.

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  58. KEVIN GRANSTROM

    THANK YOU RONAN,

    I love your show I tell everybody I know that would be interested. I dont have too many connections in the business so its awsome to here opinions, tips and tricks from a pro. I have watched every show and cant wait for the next one.

    PS loved the packing blanket episode you saved me a bunch of time and $$ thanks..

    KEVIN GRANSTROM

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  59. Will

    This was a very helpful tutorial, thank you so much. I have a small home studio with 2 inputs to my DAW. I figured I would have to stick to electronic drums but this has changed my mind. I can’t wait to try both of the setups you explained. I have a small Yamaha mixer and an Echo Audio Gina so I can try the three mic set up as well. I don’t think my mic stand will go as high as yours so I’ll have to mess around with that, but it should be fun. Thanks again.

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  60. Ronan

    Will, Do not worry about your mic stand not going as high as mine. A lower overhead can be a great sound, just keep in mind that when its a little lower, small changes from left to right, or forward and back will make a bigger difference in the balance of all the drums – Ronan

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  61. Will

    Thanks for the reply Ronan,
    I had one more question. I can’t remember if you mentioned this in the video but what pres did you use to record the signals. I know you went to Pro Tools but did the mics go through your board or do you have pres on your converters? On your equipment list it looks like you use and Apogee converter and a Digidesign converter. Do those have pres or are they just AD/DA? Thanks for everything.

    Will

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  62. Ronan

    Will, I used A Designs Pacifica mic pres. I use them for most things. I just used the stock converters on the digidesign 888/24 converters in that demo. I normaly track through Apogee converters which are now an AD-16X. But it was just stock digi on the demo.

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  63. Sean

    Actually…. the camcorder mic sounded better than the rest of the mixes, call me a Zep fan, but it was live and punchy. So if you really want to save track space and have a limited budget…..use your camcorder.

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  64. Ronan

    Yeah Sean, A lot of people don’t realize that if you get the drums sounding decent at the source you can get some really cool sounds with one mic. Its tough to get a one room mic sound to cut through a modern style production, but if you have more space in the arrangement and do not require modern forwardness of the kick and snare, a single mic can be very very cool.

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  65. laurent

    Hi Ronan !
    As usual, it’s a great show. I have a question :
    What do you think about the famous “Recorderman” drum recording method with 2 mics ? It’s seems to produce balanced stereo image of the drum kit.

    Here a link to the “Recorderman” method : http://www.hometracked.com/2007/05/12/recorderman-overhead-drum-mic-technique/

    Laurent

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  66. Ronan

    What do you think about the famous “Recorderman” drum recording method with 2 mics ? It’s seems to produce balanced stereo image of the drum kit.

    Thanks for the kind words Laurent. Nice to see fans of the show in France. The Recorderman technique seems cool, even though I have never used it myself. The thing to be careful of with that, is that overheads usually will not provide enough definition or presence in the kick drum that a lot of modern styles of production require -Ronan

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  67. Keith Moore

    What camera were you using? The audio sounded great through it.

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  68. Ronan

    Hi Keith, I use a Canon VIXIA HF200, but on many of the episodes (like this drum recording one) I am using a Rode Videomic on top of it. – Ronan

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  69. Mr Clean

    Awesome video. I’m recording drums for my band this week in a front room. I have a Mackie 8 Track mixer and mics for all the drums but only 2 inputs on my current sound card. So using the ideas in this video and my own ideas I will be doing thus……

    One overhead mic (LDC) for the whole kit. Bass Drum, Tom, Floor Tom all mic’d and mixed on individual tracks in the Mackie on one track in the DAW and the Snare mic’d through my pre-amp on it’s own track in the DAW.

    With my set up, I think that’ll probably the best way to get optimal sound.

    Really looking forward to getting going and thank you very much for the video’s. Rock On!

    Mr C

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  70. Dan N

    Ronan — great stuff here. I play and record in a 3 pc project where I have been using 4 mics (one bass, one snare and two overheads in stereo). Because it’s a smaller band, it’s nice to spread out the drums a bit, but now I’m also playing in a larger project with more diverse instrumentation and really contemplating the two mics or at least mixing the kit in mono for this larger band. The style of music will be much more wide open (guitar, cello and bass plus 2 vocs) so I’m thinking the stereo should be reserved for other things and keep the rhythm section tighter in the middle. Your video here was great and really made me thing on space a little more than I might have otherwise. THANKS!

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  71. Joe

    This is incredible! Really admire your work. I like the way you don’t expect people to have a ton of money.
    Definitely proves you don’t need to fully mic every drum!

    I’m planning on getting an SM27 to do the same job as your KSM32 and combine it with an sm57 on the snare and a Beta 52A for the bass drum.

    I have a mackie 12 input mixer too which is ironic.

    Thanks a lot for this, keep it up.

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  72. Evil Hook

    There must be something wrong with me …. I liked the sound of the drums from the mic on the camera . God help me !!!!!

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  73. Ronan

    There must be something wrong with me …. I liked the sound of the drums from the mic on the camera . God help me !!!!!

    Nothing wrong with that at all. I love the sound of a single room mic. The only problem with those kinds of sounds is that once you pile bass, keys, guitar into the mix, its really hard for the ambient drum sound to cut through and have any presence.

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  74. Mitch

    I just stumbled upon your show, and I think it’s great! As well as watching this video was very helpful, reading your replies to comments is also extremely helpful.

    I will definatly try this out if I’m going somewhere to record a demo track to my protable recorder. I’m sure it will work alot better than using the onboard mics. But when tracking a kit with close mics and overheads do you think it would be a good idea to use these onboard mics for room? Could it help add to the mix, or just muddy it up? (Tascam DR-100)

    Cheers!

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  75. Doug

    This is another fantastic episode that I just discovered (thanks to your recent plug of it).

    Just curious about the room dimensions of our ‘live room’. In particular ceiling height. My ceiling in my space is only 8′ and I know I’m limited by that – do you think I can still get good results in there? Have never recorded my full set but am gearing up to do so. Thanks as always!

    -Doug

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  76. Ronan


    Just curious about the room dimensions of our ‘live room’. In particular ceiling height. My ceiling in my space is only 8′ and I know I’m limited by that – do you think I can still get good results in there?

    Doug, Don’t let 8 foot ceilings hold you back. If you got check out Episode 19 (the one about the Analogue Tube Compressor) you can download some sound samples right under the video. There are three drum sets in those samples. Every one of them was recorded in rooms with ceiling around 8 feet.

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  77. alex

    tried and true method… i laid down some amazing drum takes with this technique this past weekend… sure we used a treated room and a kick ass ludwig, but it worked…

    many thanks, ronan…

    A.

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  78. Mark

    Thanks a lot for the cool vids. For the 3-mic setup what is the easiest way to deal with the OH/Kick? Do you just copy the track and cut all the lows out of one and cut all the highs from the other resulting in 3 tracks to mix? I am a relative idiot so please forgive the dumb question. See your site is great for all levels!

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  79. Ronan

    For the 3-mic setup what is the easiest way to deal with the OH/Kick? Do you just copy the track and cut all the lows out of one and cut all the highs from the other resulting in 3 tracks to mix?

    Hey Mark, For the 3 mic technique, I will usually just mix from two tracks. With a flexible parametric EQ you can usually carve a petty good sound without having to duplicate the track. I would certainly have no problem duplicating the track as you mentioned.

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  80. jizzkizzkill

    Hi everyone!
    Thank you for your videos, Ronan!
    What can you tell about my try to mix your wav sample?

    Two little different versions:
    1st: http://webfile.ru/4679901
    2nd: http://webfile.ru/4679920

    Thanks anyway!

    P.S. No viruses, i promiss :)

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  81. Ronan

    I tried to check out the tracks but I can not read Russian, and the place that looked like a download was asking for my email address.

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  82. jizzkizzkill

    Oh, i’m sorry. Just try to click the play button in the middle of the page.
    Thanks a lot for trying!!!

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  83. Leronious

    I’m planning to record a 7 piece jazz combo soon. Up until I saw this video, I was intent on using the recorderman method. With your advice I decided to use only one ksm27 for a more natural sound and use my other ksm27 for the vocalist. Thanks for your down to earth advice Ronan.

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  84. Pearl Drums

    really interesting site.. very useful.. This is another fantastic episode that I just discovered. thanks for sharing.

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  85. Justice Constantine

    Ronan,

    Thank you for this video.

    Justice

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  86. Cristian

    Great job with those videos and tips. Tanks a lot ! Keep it goin.
    Tank you again ! great work !

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  87. Recording Drums? - Home Recording forums

    [...] There's some interesting stuff here. I didn't get where I am today…….. by being somewhere else ! It's tough at the [...]

  88. Jon Rowell

    I’ve been watching your videos to the early morning hous, and I really learned a lot of good advice as well as validated some of the techniques I’ve used to record drums with limited resources. I’ll coming back to get some 411. Thanks and great job!!!
    Jon Rowell

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  89. Mic placement for acoustic drum kit - Home Recording forums

    [...] only way to get quite cool sounding drums with 2 mics. Is there any other known technique? Try this fella. I didn't get where I am today…….. by being somewhere else ! It's tough at the [...]

  90. How to record drums on a budget? - Home Recording forums

    [...] Watch this: Drum Recording Tips. Great drum sounds with only 2 inputs. | Ronan's Recording Show IKMultimedia.com Musicians first. Follow us on Facebook! Twitter.com/IKObiWonder [...]

  91. Michael

    Dear Ronan

    Please help me a bit.

    How do you get rid of the harsh sound of the cymbals, you had it in the 1st take of your groove. My ride kills everything.

    Regards
    Michael

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  92. Tom Filardo

    another wonderful episode. i love the internet. i love ronan!!!!!

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  93. Julian

    Wow! Just stumbled on this amazing site. Thank you! This was very helpful.

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  94. Alek

    I’m doing almost exactly the same thing with 2 Behringer B1 Compression mics, but i’m not getting any sound when i listen in the program.

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  95. Henri Vlot

    Heey Ronan,

    Very nice video. I’m about to do a full band tracking session with my Profire 2626. Only 8 inputs, and even less mics. I’m lucky I can track the band in my church, so I can just put in a room mic and don’t need to bother about cheesy reverbs.
    Anyway, keep up the good work!

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  96. tj

    That was so insightful you are awesome thanks

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  97. Emil Mortensen

    Hey Ronan, great video!

    Just one question that has been bothering me fro a while…
    how did you manage to ad kick drum samples to the kick track, when it was blended with the OH mic. Surely Drumagog must have triggered the snare aswell?

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  98. Ronan

    Just one question that has been bothering me fro a while…
    how did you manage to ad kick drum samples to the kick track, when it was blended with the OH mic. Surely Drumagog must have triggered the snare aswell?

    Aggressive low pass filtering so most of the energy comes from the kick drum hits.

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