Achieving the perfect vocal recording is a complex business. Hollin Jones explains how to get the best out of your recording and your kit…
1: Keep It Dry
It's a good idea to always record your vocals dry unless you have a specific reason to do otherwise. While the character of a guitar sound might come from the amp and pedals, in 99 per cent of cases you'll be better served by recording a completely clean, dry vocal and then adding effects afterwards. There are several reasons for this.
Recording reverb or delay as part of the take can make comping and other edits much harder because you introduce effect tails to the signal which sound odd when cut and joined together. And although you may end up EQ'ing a lot of the frequencies in a vocal up or down, it's best to start with everything present then cut frequencies surgically, rather than starting with a top-heavy take and having to try to add mid and low end back in afterwards.
2: Create Space Pockets
Wherever you record vocals, be it in a spare room at home or in a studio, it's crucial to create a contained space for your vocal performance. Most people won't be recording in an optimum space so there can be a lot of reflections from walls and other surfaces that will colour your recording, and these can be time consuming to remove afterwards using EQ and other tools.
To avoid all of that, a great technique is to use a portable vocal isolation booth such as sE's Space or a similar product. These create a pocket of dead space for your recording which leads to a much cleaner take and also has the added benefit of helping the performer focus on the task at hand, blocking out the view of the room. They can also be used for recording guitars and other sounds, so they're not just for vocals.
3: Consider Mic Emulation
It's common sense that you should use the best mic you can lay your hands on for vocal recording, but not everyone will have a top-end model to call on. The best mics cost thousands but this is beyond the scope of most people's budgets. A good solution is to get a solid all-round performer that doesn't cost the earth: perhaps a Rode NT1 or NT2 or one of sE's many condenser mics or something similar, that has a fairly clean, neutral sound.
After recording you can then try using mic modelling to emulate the characteristics of different mic models without incurring quite so much cost. Waves makes a range of mic modeling plug-ins, and there's Antares' Mic Mod EFX, Universal Audio's Ocean Way plugin and more. You probably won't get exactly the same sound as using a £5000 mic but with some care and attention you can get a great effect.
4: Aim for DSP Powered Monitor Effects
One of the best ways to help a vocalist give a more confident and natural performance is to provide them with some reverb in their headphones. The contrast with trying to sing completely dry can be quite startling when you actually do it. However it's not always quite as easy as it sounds. The problem with using insert reverb for this task is that you will almost always incur at least a small amount of latency as the vocal is processed live through your DAW and sent back to the singer's headphones.
This can be incredibly off-putting for the vocalist, and the fiddling with audio buffer sizes to minimize it can be a hassle too. Some audio interfaces - typically medium or larger sized ones - have onboard DSP-powered effects that can be applied to the monitored signal and provide reverb in the headphones but not incur any latency along the way, as it's processed inside the interface and not the computer.
If you record a lot of vocals this is an important consideration when you're choosing an interface.
5: De-ess with Care
Sibilance is an issue with any vocal recording and although it can be mitigated with a popshield it's harder to block out than plosives. One solution is to use a de-esser plug-in after recording. These are specialised compressors that work on a very specific frequency range to rein in the ‘s' sounds in vocals - used correctly, they can be very effective at cleaning up your vocal track.
However it's vital not to overuse them because they can quickly start to suck the life and energy out of a vocal. If you dial in too much de-essing or set your processor to pull back too wide a range of frequencies you'll find that the vocal starts to sound artificial and overly restrained. The key is to find a happy medium of frequency, de-essing amount and the aggressiveness of the attack and decay, and take out the harshest of the ‘s' sounds without dulling the sound too much overall.
6: Record Everything
One trick that some producers use is to record everything a singer does, sometimes without telling them it's being captured. A good example is recording warm-up or test takes, when a vocalist feels less pressured and more relaxed because they don't think this one is ‘it' and may give a different kind of performance to the one they give when they think they are centre stage.
This doesn't just apply to amateur vocalists, it has been known to work with professionals as well. Sometimes after the session is over you go back to the warm ups or the tests and find whole takes or parts of takes that work better than the ‘real' ones, and then splice them in. Tracks and storage space are plentiful on modern systems so there's no reason not to do this.
7: Sweet Harmonies
Harmonies and backing vocals can add a lot to the overall fullness of a track and it's possible to create these after the fact if you're not able to do it on the same day. Obviously the ideal situation is to get your singer to perform as many of them as possible at the time and then you have more to work with afterwards. But even if all you have is a single lead vocal you still have options.
The simplest trick is to double or triple track the vocal and then mix, pan and EQ the copied versions to enhance the main track. You can also process the duplicates differently, perhaps adding chorus or unison, or other kinds of effects. Some DAWs let you generate harmonies from existing tracks: Cubase is able to do this, and there are plug-ins that can help too. It's also possible to pitch shift duplicated tracks to create harmonies, though this requires more care and effort since not every note will sit properly with the original take.
8: Loop and Comp
When it comes to getting the perfect take it's rare to find a singer who can do a whole song perfectly in one go. That's not a reflection on their talent, just that with modern production techniques there's no reason to settle for anything less than total perfection. You can set up loops to record over different sections of a track and your performer can have several goes at it without stopping, or indeed try variations as the track loops.
You can then use the comping tools that your DAW most probably has to find the best takes or best parts of takes and splice them together - with care - to get the perfect take. This may involve changing the levels of different takes if the singer has moved a little in relation to the mic at different times. You can also overdub of course, punching a singer in only at the specific point they need to replace a line or word, then punching them out.
9: Gate Post-Recording
Gating can be a useful tool in the producer's arsenal but it should be used carefully. Although it might be tempting to use a noise gate during recording, it's not often a good idea.
Gates work by cutting off the signal - closing - when the signal falls beneath a specified threshold. They open again when the signal rises above that threshold, with accompanying attack and release settings to govern how quickly they open and shut.
The problem with this is that since a live vocal performance is an organic thing, with your vocalist moving around a little and varying their volume without you necessarily realising, having a preset gate can result in words or parts of lines being completely missed if the thresholds that have been set don't respond to the actual performance.
A closed gate lets absolutely nothing through. A much better idea is to record everything, including any stray sounds or breaths between vocal lines, and then either apply the gate as an insert so you can tweak it after the recording, or physically cut the sections of silence out from the timeline
10: Pan Backing Vocals
Your lead vocal should always be front and centre, but you can get much more creative with your harmonies, backing vocals or hip hop ad libs. Think about placing them creatively, maybe using panning to send them a little off to the left or right. This makes the track sound much fuller and it also ensures that they complement rather than compete with the lead vocal in the centre.
It's quite rare to hard pan vocal sounds as this can sound a little odd especially on headphones, but with things such as hip hop ad libs it's common to send them off to 45 degrees left or right. To get even more creative, consider automating their pan settings so perhaps one backing line appears off to the left, and the next line off to the right, and so on.
Showing posts with label musictechnet. Show all posts
Showing posts with label musictechnet. Show all posts
Tuesday, 20 December 2016
Thursday, 1 September 2016
Defining Sounds: A 50 Year Retrospective
Over the last 50 years, the sound of popular music has changed along with the technology that is used to produce it. In this feature we'll be taking a look, decade by decade, at the way recording technique and technology has progressed to create the defining sounds of the era.
From those early analogue mono recordings produced by an army of engineering staff in vast studios to the complex, multi-layered tracks created by an individual in a digital ‘studio' that can be carried around in a rucksack, we'll explain how classic sounds were created and show you how to replicate them using today's technology.
Although many of us work ‘in-the-box', an understanding of how recording techniques originated can be enlightening and enhance the enjoyment of music production. Effects that once necessitated the use of large spaces to create ambience, or expensive equipment to shape and distort audio, can now be achieved at the click of a mouse. And classic outboard gear is now available in software form - even the sound of analogue tape can be simulated in the digital domain.
The rapid development of multitrack recording capability throughout the 1960s and 1970s had a huge impact on the way music sounded and gave rise to numerous recording techniques and effects, while the advancement of digital technology from the 1980s onwards has inspired whole new genres of popular music, as well as enabling the DAW culture we have today. And although developments in recording equipment and technique have had a profound effect on the evolution of music production, advances in the musical instruments themselves - particularly synthesizers - has also gone a long way to define the sound of the last five decades, from the progressive rock of the 60s and 70s, synth-pop and dance culture of the 80s and 90s, right up to modern-day electronica.
The 60's
Pop music - and the way in which it was recorded - changed beyond recognition from the beginning to the end of the 1960s. Multitrack recording, developed by Les Paul in the 1950s, was still in its infancy at the start of the decade, with most recordings captured live on to 2-, 3- or 4-track machines. With such a limited number of tracks available, almost all of the sound balancing had to be done at the recording stage, and final mixing was merely a case of blending a pre-mixed backing track with a lead vocal. Close-mic'ing techniques were uncommon at this time, as engineers attempted to capture a balance of the musicians playing in the studio with a minimum of microphones. Most recordings were made in studios owned by record companies, which had strict guidelines regarding standard recording procedure. As independent producers such as Phil Spector and Joe Meek began making their mark by developing their own unique styles, the recording establishment was forced to rethink its attitude towards experimentation.
Beyond Four-Track
There can be no doubt that the single biggest influence on the progress of record production in the 1960s was The Beatles. As the decade progressed, they seemingly broke new ground with each release, pushing the technical and recording engineers at EMI's Abbey Road Studios to develop new techniques in order to stay ahead of the game.
Their first recordings from 1962 up to late 1963 were recorded on twin-track, but the arrival of 4-track machines opened up new opportunities for invention. By 1965, producer George Martin was using a pair of Studer J37s to increase the track count further by making reduction mixes; once the four tracks on the first J37 were full, they could be mixed, sent through a compressor and bounced to one or more tracks on the second machine. This technique was employed to great effect on albums such as Revolver (1966) and Sgt. Pepper's Lonely Hearts
Club Band (1967).
Tape machines played a large part in creating effects as well. Tape-echo was a key feature of many early rock ‘n' roll records, producing a slap-back effect, and would often be used to provide a reverb pre-delay when sent to an echo (reverb) chamber or a plate reverb such as the EMT 140 (see Studio Icons, Issue 97, April 2011).
Enter Stereo
The sonic experimentation inspired by psychedelia generated an interest in stereo recording techniques. Unlike classical stereo recording, which aimed to give a realistic impression of the stereo spread of an orchestra, early stereo pop records often featured extreme panning techniques, such as placing the drums in the left channel with the drum reverb panned hard right. By 1968, most professional studios had 8-track recorders, which offered far greater flexibility for overdubbing and stereo mixing. Jimi Hendrix's Electric Ladyland album, released that year, was one of the first rock LPs to be recorded specifically for stereo reproduction, with the final mix employing lots of movement within the stereo soundfield. Around the same time, studios began to embrace solid-state technology, with units such as the FET-based Urei 1176 compressor/limiter superseding classic Fairchild and Altec units, many of which were sadly junked.
The 70's
The technical innovations in studio technology of the 1960s, particularly the multitrack recording capability and technique, continued to progress rapidly during the 70s. The 8-track recorders that first appeared in British studios in the final couple of years of the 60s reduced the need for engineers to create extra tracks by bouncing between two 4-track machines.
This made overdubbing more convenient and reduced the build-up of tape hiss, but it didn't greatly alter the way that initial backing tracks were committed to tape. The arrival of 16-track at the dawn of the 70s created a sea-change in the way that multitrack recording could be done, enabling track-laying methods that have become standard practice in professional studios ever since.
Whereas 4- and 8-track had necessitated a certain amount of pre-mixing to tape, 16-track allowed engineers to assign each mic channel to its own track, making the recording and mixing processes two separate entities. This meant that final mixing decisions, such as the balance of the drums, for example, could be put off until recording was complete. While this gave unprecedented flexibility, it also created a situation in which some novice engineers would record substandard sounds with badly placed mics, in the misguided belief that they would be able to ‘fix it in the mix'.
Count Down
Not only were track counts increasing during the 70s, the number of recording studios themselves was escalating. Gone were the days when artists were obliged to record in the studios owned by the record companies to which they were signed, and while some opted to record at independent studios in London - Trident, for example - others preferred to get it together in the country, at rural studios such as Rockfield, in Monmouthshire. A third option that emerged during this period was to hire a mobile rig and decamp to a stately home, making use of the acoustic properties of the many rooms available. Led Zeppelin used The Rolling Stones Mobile Studio to record tracks at Headley Grange, a Victorian mansion in East Hampshire, while the Stones used their own rig to record many of the tracks on their classic Exile On Main St album at Mick Jagger's English country house and Keith Richards' villa in France.
A recording style that became popular as the 70s progressed was to lay down a basic backing of bass and drums - or even just the drum kit played to a click-track - and overdub the remaining instruments one by one to achieve maximum separation. While this method allows for a very clean recording with no spillage from other sound sources, the natural vibe of the whole band playing together is sacrificed. This track-by-track layering was used to great effect by multi-instrumentalist Mike Oldfield for his ground-breaking 1973 album Tubular Bells, which launched Virgin Records.
‘I Feel Love' reached number one in the UK singles chart and number six on the Billboard Top 100 in the US
Route Master
The use of synths became more popular during the 1970s. The 2600 was ARP's answer to the modular system.
Image courtesy of WayOutWareInc
From those early analogue mono recordings produced by an army of engineering staff in vast studios to the complex, multi-layered tracks created by an individual in a digital ‘studio' that can be carried around in a rucksack, we'll explain how classic sounds were created and show you how to replicate them using today's technology.
Although many of us work ‘in-the-box', an understanding of how recording techniques originated can be enlightening and enhance the enjoyment of music production. Effects that once necessitated the use of large spaces to create ambience, or expensive equipment to shape and distort audio, can now be achieved at the click of a mouse. And classic outboard gear is now available in software form - even the sound of analogue tape can be simulated in the digital domain.
The rapid development of multitrack recording capability throughout the 1960s and 1970s had a huge impact on the way music sounded and gave rise to numerous recording techniques and effects, while the advancement of digital technology from the 1980s onwards has inspired whole new genres of popular music, as well as enabling the DAW culture we have today. And although developments in recording equipment and technique have had a profound effect on the evolution of music production, advances in the musical instruments themselves - particularly synthesizers - has also gone a long way to define the sound of the last five decades, from the progressive rock of the 60s and 70s, synth-pop and dance culture of the 80s and 90s, right up to modern-day electronica.
The 60's
Pop music - and the way in which it was recorded - changed beyond recognition from the beginning to the end of the 1960s. Multitrack recording, developed by Les Paul in the 1950s, was still in its infancy at the start of the decade, with most recordings captured live on to 2-, 3- or 4-track machines. With such a limited number of tracks available, almost all of the sound balancing had to be done at the recording stage, and final mixing was merely a case of blending a pre-mixed backing track with a lead vocal. Close-mic'ing techniques were uncommon at this time, as engineers attempted to capture a balance of the musicians playing in the studio with a minimum of microphones. Most recordings were made in studios owned by record companies, which had strict guidelines regarding standard recording procedure. As independent producers such as Phil Spector and Joe Meek began making their mark by developing their own unique styles, the recording establishment was forced to rethink its attitude towards experimentation.
Beyond Four-Track
There can be no doubt that the single biggest influence on the progress of record production in the 1960s was The Beatles. As the decade progressed, they seemingly broke new ground with each release, pushing the technical and recording engineers at EMI's Abbey Road Studios to develop new techniques in order to stay ahead of the game.
Their first recordings from 1962 up to late 1963 were recorded on twin-track, but the arrival of 4-track machines opened up new opportunities for invention. By 1965, producer George Martin was using a pair of Studer J37s to increase the track count further by making reduction mixes; once the four tracks on the first J37 were full, they could be mixed, sent through a compressor and bounced to one or more tracks on the second machine. This technique was employed to great effect on albums such as Revolver (1966) and Sgt. Pepper's Lonely Hearts
Club Band (1967).
Tape machines played a large part in creating effects as well. Tape-echo was a key feature of many early rock ‘n' roll records, producing a slap-back effect, and would often be used to provide a reverb pre-delay when sent to an echo (reverb) chamber or a plate reverb such as the EMT 140 (see Studio Icons, Issue 97, April 2011).
Enter Stereo
The sonic experimentation inspired by psychedelia generated an interest in stereo recording techniques. Unlike classical stereo recording, which aimed to give a realistic impression of the stereo spread of an orchestra, early stereo pop records often featured extreme panning techniques, such as placing the drums in the left channel with the drum reverb panned hard right. By 1968, most professional studios had 8-track recorders, which offered far greater flexibility for overdubbing and stereo mixing. Jimi Hendrix's Electric Ladyland album, released that year, was one of the first rock LPs to be recorded specifically for stereo reproduction, with the final mix employing lots of movement within the stereo soundfield. Around the same time, studios began to embrace solid-state technology, with units such as the FET-based Urei 1176 compressor/limiter superseding classic Fairchild and Altec units, many of which were sadly junked.
The 70's
The technical innovations in studio technology of the 1960s, particularly the multitrack recording capability and technique, continued to progress rapidly during the 70s. The 8-track recorders that first appeared in British studios in the final couple of years of the 60s reduced the need for engineers to create extra tracks by bouncing between two 4-track machines.
This made overdubbing more convenient and reduced the build-up of tape hiss, but it didn't greatly alter the way that initial backing tracks were committed to tape. The arrival of 16-track at the dawn of the 70s created a sea-change in the way that multitrack recording could be done, enabling track-laying methods that have become standard practice in professional studios ever since.
Whereas 4- and 8-track had necessitated a certain amount of pre-mixing to tape, 16-track allowed engineers to assign each mic channel to its own track, making the recording and mixing processes two separate entities. This meant that final mixing decisions, such as the balance of the drums, for example, could be put off until recording was complete. While this gave unprecedented flexibility, it also created a situation in which some novice engineers would record substandard sounds with badly placed mics, in the misguided belief that they would be able to ‘fix it in the mix'.
Count Down
Not only were track counts increasing during the 70s, the number of recording studios themselves was escalating. Gone were the days when artists were obliged to record in the studios owned by the record companies to which they were signed, and while some opted to record at independent studios in London - Trident, for example - others preferred to get it together in the country, at rural studios such as Rockfield, in Monmouthshire. A third option that emerged during this period was to hire a mobile rig and decamp to a stately home, making use of the acoustic properties of the many rooms available. Led Zeppelin used The Rolling Stones Mobile Studio to record tracks at Headley Grange, a Victorian mansion in East Hampshire, while the Stones used their own rig to record many of the tracks on their classic Exile On Main St album at Mick Jagger's English country house and Keith Richards' villa in France.
A recording style that became popular as the 70s progressed was to lay down a basic backing of bass and drums - or even just the drum kit played to a click-track - and overdub the remaining instruments one by one to achieve maximum separation. While this method allows for a very clean recording with no spillage from other sound sources, the natural vibe of the whole band playing together is sacrificed. This track-by-track layering was used to great effect by multi-instrumentalist Mike Oldfield for his ground-breaking 1973 album Tubular Bells, which launched Virgin Records.
‘I Feel Love' reached number one in the UK singles chart and number six on the Billboard Top 100 in the US
Route Master
The use of synths became more popular during the 1970s. The 2600 was ARP's answer to the modular system.
Image courtesy of WayOutWareInc
Tuesday, 23 August 2016
How to Record: Bass Guitar
In the latest of our occasional series on recording instruments into your DAW, John Pickford tackles the bass guitar…
The bass guitar features in most styles of popular music, ranging from deep, dub bass in reggae, to the bright, punchy slap-tones of funk, with all manner of genres and tones in between. No matter what style you're recording though, the bass guitar should provide a solid foundation for your track and, along with other elements of the rhythm section, define its groove.
There are several ways of recording bass, the most popular being DI - Directly Injecting the instrument to your recorder, mic'ing a bass amp/cabinet and, as many engineers like to do, combining a blend of DI and microphone signals
One thing to consider is whether the bass is to be recorded simultaneously with other elements of the track, such as drums and guitars, or performed as an overdub. If you're recording other instruments in the same room as an amplified bass, it's likely that there will be a certain amount of spill.
This is fine as long as the leakage isn't going to adversely affect any future processing during the mixing stage, and some bands thrive on creating a live groove in the studio.
However, adopting the DI approach can both avoid spill and open up options later on in the recording process.
Some bass guitars have active pick-ups, meaning that their output is high enough to be plugged directly into your mixer or interface, however most basses feature passive pick-ups, necessitating the use of a DI box to boost the low-level signal.
Although bass recorded through a DI can sound tight, dry and clean, it can also lack some of the body and punch that you get from a great-sounding bass cab.
However, when recording a band live in the studio, using a bass DI not only avoids unwanted spill, it also allows a good drum take (for example) to be saved if the bassist makes a mistake. And if the bass part is perfectly played but the sound isn't quite right, the clean DI signal can later be fed through an amplifier and mic'ed up; this technique is called re-amping
Nowadays, there are many outboard recording channels or channel strips that feature excellent DI inputs. Some of these are based upon vintage console designs and most feature both EQ and dynamics control, enabling superb results to be produced without the need for amplification.
Mic'ing the Cab
Often, though, to achieve the very best bass tones, only the sound of a mic'ed-up bass cab will do. The sound of a good bass amplifier, particularly if it's a valve model, is hard to emulate with DI techniques alone. Most engineers favour either dynamic types with a strong low-end response, or a large-diaphragm condenser. Ribbon designs can sound great on bass but are more delicate than other types and don't like to be placed close to sources producing high SPLs.
Microphones designed for bass drums - such as the classic AKG D112 - usually work well on bass guitar as they generally have a pronounced low-end boost that is flattering to bass signals, and can handle very high SPLs. Don't worry if you don't have one of these though, as most general purpose mics, such as the Shure SM57 will do a reasonably good job if positioned correctly - see the More On Mic Placement box below right.
Beatles engineer Geoff Emerick often recorded Paul McCartney's bass as an overdub, using an AKG C12 set to figure 8 (bi-directional) and placing the mic around 4 or 5 feet from the bass cab.
For most recording situations though, moving the mic between 5 and 18 inches from the speaker should give you all the tonal options you could want, unless you're after a particularly roomy sound. Whereabouts along the plane of the speaker the mic is aimed will also determine the final tone. Pointing the mic at the centre of the speaker cone will give the punchiest sound, while moving along to the edge of the cone will give smoother, warmer tones.
If you are using a mic with a cardioid polar pattern, bear in mind that the closer you place it, the more bottom-end will be heard due to the proximity effect. This can be used to advantage if you only have a vocal mic (such as a Shure SM58) at your disposal, as these mics tend to have a rolled-off low end response.
Compression Techniques
Bass guitars typically have a wide dynamic range and it's almost always necessary to use some compression. The amount required will depend very much on the style and technique of the player, but as a rule of thumb, some gentle compression at the recording stage with a heavier squeeze during mixdown is a sensible starting point. Try using a 4:1 ratio to begin with and then, if the bass part is still too wildly dynamic, try a higher ratio when mixing.
Some bass playing styles, such as slap-bass, feature an occasional very loud note that can be tamed by using a much higher ratio of 10:1 or more to limit the peaks. Using extremely fast attack and decay times is not a good idea when recording bass as the initial transients will be lost and the compressor will struggle with the complex waveforms of bass signals.
Instead, set the attack time so that the plucking of the string can be heard - around 50ms should do it - and then set the release time to around 250ms or, if your compressor has an auto release setting, use that.
Before using a compressor, it's worth making sure that the basic tone of the bass is correct as a compressor will emphasise the main tonal characteristic. Therefore, it's a good idea to make any drastic EQ adjustments before compressing. If your bass sound needs fattening-up, a boost at around 80Hz often helps.
However, experiment with upper-bass and low-mid frequencies (100Hz - 400Hz) to help the bass part bed-in with other elements of the mix such as the kick drum. As bass guitars don't produce much in the way of usable high-frequency information, rolling-off the upper frequencies from around 5kHz will allow space for the treble elements of the track.
Similarly, when mixing, the bass guitar will have more room to breathe if a high-pass-filter is applied to other instruments and voices that don't require a lot of low-end energy.
Using effects with bass isn't nearly as common as with electric guitars but can produce distinctive results. Reverbs and delays should be used with caution as they can smear the bass part and rob the part of punch and drive. Some distortion effects can give bass parts a gritty edge, however the extreme distortion caused by fuzz-boxes will reduce the low-end impact of the sound. During the 1980s it was fashionable to use a chorus effect, often with fretless bass guitars, which were also in vogue during that era.
So, there are several ways of recording bass guitar and only your own personal circumstances can dictate which method works best for you. As always, take time to experiment - and trust your ears!
More on Mic Placement
Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs benefit from further distance between the speaker and mic. Around 5 inches is the minimum distance to achieve a decent tone, but longer distances can give excellent results if the recording situation permits.
Re-amping a DI'd Bass
1: Recording bass with DI during a group tracking session can both help avoid excessive bleed onto other mics and allow greater flexibility when mixing. However, bass DI alone lacks the body and drive produced by a decent amplifier. Once the DI'd bass has been recorded, the signal can be sent to a bass amp/cab and re-recorded in isolation. You will then have two channels of clean bass with no spill from drums or other instruments.
2: The best device to use is a dedicated re-amping box, which can be obtained reasonably inexpensively. These work like a DI box in reverse, matching the recorded DI bass signal to a level that is suitable for the amplifier. Indeed, a passive DI box can be used in reverse, however a re-amping box will offer a more flexible and hassle-free approach to matching both impedance and signal-levels.
3: Simply take the DI bass signal from your recorder and plug into the input of the re-amp box. Connect a microphone to the box and mic-up the amp/cab to your satisfaction. The sound of the amplified bass can now be overdubbed onto a separate track. Of course, if you are using plug-in amplifier mods instead of the real thing, the DI sound can be treated in the box without the need for a re-amping box or bass amplifier.
Bass Amp & Direct Combined
1: Recording bass both direct and through a bass amp can produce great results. You get the clean, clear and present sound of the instrument from the direct signal, combined with the warm low-end and rich harmonics produced by the amp/cab combo - particularly if you use a valve amp. Unless the bass guitar has active pick-ups, you'll need to use a DI (Direct Injection) box to match impedances and boost the low-level signal from the instrument.
2: Plug the bass into the instrument (jack) input of the DI box and take a feed from the box into the input of the amp. Use the XLR output on the DI box to connect to your mixer or interface. Once the bass cabinet has been suitably mic'ed you will have two channels of bass. As the signal from the mic enters the recorder a couple of milliseconds later than the DI signal, the sound may become vague when combined due to phase issues.
3: To solidify your bass sound, play both channels together and send the DI signal to a digital delay. Dial in the delay (around 2ms is usually about right) until the bass sound snaps into focus. A continuously variable delay is best for this job so that you can hear precisely when the sound becomes solid and punchy. Alternatively, simply move the DI signal within your digital recorder so that the waveforms match and are not out of phase.
The bass guitar features in most styles of popular music, ranging from deep, dub bass in reggae, to the bright, punchy slap-tones of funk, with all manner of genres and tones in between. No matter what style you're recording though, the bass guitar should provide a solid foundation for your track and, along with other elements of the rhythm section, define its groove.
There are several ways of recording bass, the most popular being DI - Directly Injecting the instrument to your recorder, mic'ing a bass amp/cabinet and, as many engineers like to do, combining a blend of DI and microphone signals
One thing to consider is whether the bass is to be recorded simultaneously with other elements of the track, such as drums and guitars, or performed as an overdub. If you're recording other instruments in the same room as an amplified bass, it's likely that there will be a certain amount of spill.
This is fine as long as the leakage isn't going to adversely affect any future processing during the mixing stage, and some bands thrive on creating a live groove in the studio.
However, adopting the DI approach can both avoid spill and open up options later on in the recording process.
Some bass guitars have active pick-ups, meaning that their output is high enough to be plugged directly into your mixer or interface, however most basses feature passive pick-ups, necessitating the use of a DI box to boost the low-level signal.
Although bass recorded through a DI can sound tight, dry and clean, it can also lack some of the body and punch that you get from a great-sounding bass cab.
However, when recording a band live in the studio, using a bass DI not only avoids unwanted spill, it also allows a good drum take (for example) to be saved if the bassist makes a mistake. And if the bass part is perfectly played but the sound isn't quite right, the clean DI signal can later be fed through an amplifier and mic'ed up; this technique is called re-amping
Nowadays, there are many outboard recording channels or channel strips that feature excellent DI inputs. Some of these are based upon vintage console designs and most feature both EQ and dynamics control, enabling superb results to be produced without the need for amplification.
Mic'ing the Cab
Often, though, to achieve the very best bass tones, only the sound of a mic'ed-up bass cab will do. The sound of a good bass amplifier, particularly if it's a valve model, is hard to emulate with DI techniques alone. Most engineers favour either dynamic types with a strong low-end response, or a large-diaphragm condenser. Ribbon designs can sound great on bass but are more delicate than other types and don't like to be placed close to sources producing high SPLs.
Microphones designed for bass drums - such as the classic AKG D112 - usually work well on bass guitar as they generally have a pronounced low-end boost that is flattering to bass signals, and can handle very high SPLs. Don't worry if you don't have one of these though, as most general purpose mics, such as the Shure SM57 will do a reasonably good job if positioned correctly - see the More On Mic Placement box below right.
Beatles engineer Geoff Emerick often recorded Paul McCartney's bass as an overdub, using an AKG C12 set to figure 8 (bi-directional) and placing the mic around 4 or 5 feet from the bass cab.
For most recording situations though, moving the mic between 5 and 18 inches from the speaker should give you all the tonal options you could want, unless you're after a particularly roomy sound. Whereabouts along the plane of the speaker the mic is aimed will also determine the final tone. Pointing the mic at the centre of the speaker cone will give the punchiest sound, while moving along to the edge of the cone will give smoother, warmer tones.
If you are using a mic with a cardioid polar pattern, bear in mind that the closer you place it, the more bottom-end will be heard due to the proximity effect. This can be used to advantage if you only have a vocal mic (such as a Shure SM58) at your disposal, as these mics tend to have a rolled-off low end response.
Compression Techniques
Bass guitars typically have a wide dynamic range and it's almost always necessary to use some compression. The amount required will depend very much on the style and technique of the player, but as a rule of thumb, some gentle compression at the recording stage with a heavier squeeze during mixdown is a sensible starting point. Try using a 4:1 ratio to begin with and then, if the bass part is still too wildly dynamic, try a higher ratio when mixing.
Some bass playing styles, such as slap-bass, feature an occasional very loud note that can be tamed by using a much higher ratio of 10:1 or more to limit the peaks. Using extremely fast attack and decay times is not a good idea when recording bass as the initial transients will be lost and the compressor will struggle with the complex waveforms of bass signals.
Instead, set the attack time so that the plucking of the string can be heard - around 50ms should do it - and then set the release time to around 250ms or, if your compressor has an auto release setting, use that.
Before using a compressor, it's worth making sure that the basic tone of the bass is correct as a compressor will emphasise the main tonal characteristic. Therefore, it's a good idea to make any drastic EQ adjustments before compressing. If your bass sound needs fattening-up, a boost at around 80Hz often helps.
However, experiment with upper-bass and low-mid frequencies (100Hz - 400Hz) to help the bass part bed-in with other elements of the mix such as the kick drum. As bass guitars don't produce much in the way of usable high-frequency information, rolling-off the upper frequencies from around 5kHz will allow space for the treble elements of the track.
Similarly, when mixing, the bass guitar will have more room to breathe if a high-pass-filter is applied to other instruments and voices that don't require a lot of low-end energy.
Using effects with bass isn't nearly as common as with electric guitars but can produce distinctive results. Reverbs and delays should be used with caution as they can smear the bass part and rob the part of punch and drive. Some distortion effects can give bass parts a gritty edge, however the extreme distortion caused by fuzz-boxes will reduce the low-end impact of the sound. During the 1980s it was fashionable to use a chorus effect, often with fretless bass guitars, which were also in vogue during that era.
So, there are several ways of recording bass guitar and only your own personal circumstances can dictate which method works best for you. As always, take time to experiment - and trust your ears!
More on Mic Placement
Unlike electric guitar amps, that can sound good with a mic almost touching the speaker, bass cabs benefit from further distance between the speaker and mic. Around 5 inches is the minimum distance to achieve a decent tone, but longer distances can give excellent results if the recording situation permits.
Re-amping a DI'd Bass
1: Recording bass with DI during a group tracking session can both help avoid excessive bleed onto other mics and allow greater flexibility when mixing. However, bass DI alone lacks the body and drive produced by a decent amplifier. Once the DI'd bass has been recorded, the signal can be sent to a bass amp/cab and re-recorded in isolation. You will then have two channels of clean bass with no spill from drums or other instruments.
2: The best device to use is a dedicated re-amping box, which can be obtained reasonably inexpensively. These work like a DI box in reverse, matching the recorded DI bass signal to a level that is suitable for the amplifier. Indeed, a passive DI box can be used in reverse, however a re-amping box will offer a more flexible and hassle-free approach to matching both impedance and signal-levels.
3: Simply take the DI bass signal from your recorder and plug into the input of the re-amp box. Connect a microphone to the box and mic-up the amp/cab to your satisfaction. The sound of the amplified bass can now be overdubbed onto a separate track. Of course, if you are using plug-in amplifier mods instead of the real thing, the DI sound can be treated in the box without the need for a re-amping box or bass amplifier.
Bass Amp & Direct Combined
1: Recording bass both direct and through a bass amp can produce great results. You get the clean, clear and present sound of the instrument from the direct signal, combined with the warm low-end and rich harmonics produced by the amp/cab combo - particularly if you use a valve amp. Unless the bass guitar has active pick-ups, you'll need to use a DI (Direct Injection) box to match impedances and boost the low-level signal from the instrument.
2: Plug the bass into the instrument (jack) input of the DI box and take a feed from the box into the input of the amp. Use the XLR output on the DI box to connect to your mixer or interface. Once the bass cabinet has been suitably mic'ed you will have two channels of bass. As the signal from the mic enters the recorder a couple of milliseconds later than the DI signal, the sound may become vague when combined due to phase issues.
3: To solidify your bass sound, play both channels together and send the DI signal to a digital delay. Dial in the delay (around 2ms is usually about right) until the bass sound snaps into focus. A continuously variable delay is best for this job so that you can hear precisely when the sound becomes solid and punchy. Alternatively, simply move the DI signal within your digital recorder so that the waveforms match and are not out of phase.
Thursday, 21 July 2016
How To Record: Bass Drums
John Pickford continues his recording series with advice on how to record that backbone of the beat: the kick drum…
A great kick drum sound is, of course, the foundation of any modern drum kit recording. Getting it right will help give your track the right feel, whether you're after a killer funky groove or a hard-rocking, driving beat. The first thing to address is the drum itself; no number of fancy mics or techniques will rescue a poor-sounding drum.
Before you begin mic'ing, make sure that the drum is nicely tuned and free of rattles, and have some lubricant handy to deal with squeaky bass drum pedals. Bear in mind that drums are sensitive to changes in room temperature, so leave it to settle before evaluating the sound if the drum has come from a cold storage room into a warm studio.
Bass drums come in various sizes, both in terms of diameter and depth, and this has an enormous impact on the type of sound they will produce.
The most common sizes are 20-22 inches in diameter with a depth of between 14 and 16 inches. These are usually best for most recordings, although great results can be had from smaller drums, often found with jazz kits. Larger kick drums are capable of delivering a deep low-end, but often lack the tightness and punch of standard sizes.
The AKG D112 is a microphone designed specifically for bass drum recording
A common problem with bass drums is excessive boom and ringing. Although much of this can be carefully tuned out, it's often necessary to use some dampening material, such as a blanket or pillow, inside the drum. Depending on the amount of damping required, the material can be placed touching either or both the batter head and resonant (front) head.
Some engineers like to remove the resonant head for recording, enabling easy placement of mics inside the drum. However, this will completely alter the tone of the drum and can result in rattling lugs if the rim is left off. A better compromise is to cut a hole in the resonant head, and these days many heads are available with a pre-cut hole.
Another major contributor to the sound is the type of beater used - a wooden or plastic beater will create a harder sound with more attack than a felt-covered one. Similarly, if a pad is used on the batter head where the beater strikes, a harder material will produce a sound with more click. Once you have got the drum sounding good at source, you can think about microphone types and mic'ing techniques.
There are numerous microphones available designed specifically for bass drum recording, the most famous being the AKG D112. Dedicated bass drum mics are usually voiced to accentuate the desirable tonal aspects of the drum while scooping out some of the less useful lower-mid frequencies.
Dynamic mics are often the first choice for bass drum recording, especially when close-mic'ing techniques are employed, as they can withstand high SPLs. Classic dynamic mics such as the Sennheiser MD 421 and Electro-Voice RE20 are popular choices for recording bass drums, and many great bass drum sounds have been achieved with that brilliant all-rounder, the Shure SM57. Large diaphragm condenser mics are also good for capturing a good low-end response with plenty of weight, and many engineers like to use one in conjunction with a dynamic mic; the Neumann U47 FET is highly regarded as a bass drum mic.
Mic Positioning
There are no hard and fast rules when finding the best mic'ing position, however it's useful to know a few basic techniques and how different locations will accentuate differing aspects of the drum's sound.
If the drum you are recording is fitted with a resonant head without a hole, and presuming that the drummer doesn't want a hole to be cut or the drum head removed, you will be mic'ing externally. It's usually a good idea to angle the mic downwards slightly to get good separation between the bass drum and the rest of the kit.
Of course, if you are recording just the bass drum in isolation - to build a sample library, for example - spillage won't be an issue. When you have access to the inside of the drum, you can experiment with the proximity of the mic in relation to the beater.
Great mics for recording kicks include classic dynamics, such as the Sennheiser MD 421 and Electro-Voice RE20
Positioning the mic close to the beater and on-axis will produce a sound with lots of attack, often at the expense of tone. A good starting point is to place the mic just inside the drum and slightly off-axis, moving in closer if more beater definition is desired.
It's also worth experimenting with the direction of the mic within the drum, as it doesn't necessarily have to point directly towards the batter head. Try pointing the mic towards the drum shell for a sound that is rounder and mellower than pointing straight ahead.
When more than one mic is employed, you can use each one to bring out specific qualities of the drum's tone. A common two-mic method is to have a dynamic mic deep inside the drum to pick up the beater click, with another mic outside the drum to capture a fuller, deeper tone.
Some engineers like to place an external mic several feet away from the drum, an approach that can work well as long as spillage from other instruments - guitar amps for instance - doesn't make this technique problematic. You don't have to limit yourself to mic'ing the drum from the front, though.
Placing a mic at the batter head, pointing towards the beater, can add definition and punch, though not much in the way of low-end heft.
This position wouldn't be ideal as the only bass drum mic, but can really help the drum cut through a mix when used in conjunction with a front mic, especially if the resonant head does not allow for internal mic'ing.
Spending a little time getting the sound right with good mic'ing techniques will go a long way to achieving a great bass drum sound; however, a little EQ is sometimes needed to help the sound along the way. If the drum sounds a bit boxy - a common problem with bass drums - try cutting some low-mids between 300-700Hz. A boost somewhere in the region of 3-5kHz will help bring out the beater click if more bass drum presence is required.
At the top end of the frequency spectrum, the sound can be fine-tuned by rolling off some high frequencies from around 10kHz, as there is little useful information here; this will help minimise any cymbal spillage, as well as creating space for genuine high-frequency sounds in the mix.
One of our recent favourites for drum mic'ing is the Neumann U47 FET remake
A low-end boost around 60-80Hz can add some body to a thin-sounding bass drum if it lacks some low-end weight, but avoid shelving boosts in the 100Hz region, as this can dial in muddiness.
Compressing the bass drum to even out the sound is often useful; try using a medium attack time with a fast release and a ratio between 2:1 and 4:1, aiming for 2-3dB of gain reduction.
Higher ratios and levels of gain reduction can work with highly dynamic drum recordings. For a really driving, rhythmic sound, compress the whole kit and push the bass drum to make the compressor pump in time with the track. Experimenting with the release control is key here to get the pumping rhythm just right. Alternatively, leave the bass drum out of the drum-kit mix-buss to avoid unwanted pumping artefacts.
When mixing the bass drum as part of a whole kit recording, remember that other mics, such as the overheads, will inevitably pick up some bass drum sound, so make sure you make your EQ and compression processes within the context of the kit and not just in isolation. And, as always in any multi-mic situation, check the phase relationship between microphones.
Before reaching for the EQ when trying to rescue a weak-sounding bass drum, invert the phase - you may well find that the sound suddenly becomes more solid and focused.
Finally, unless wacky 1960s-style stereo effects are desired, the bass drum should not be panned to the left or right of the stereo picture. Leave it in the centre, along with the snare drum track and other low-frequency instruments to produce the best foundation for your track.
Step by Step - Single & Double Mic'ing
1: The best starting position for a single-mic technique is to place the mic close to the resonant head, slightly off-axis and angled downwards to achieve some separation. If the drum has a hole cut into it, position the mic just inside the hole for a good balance of attack from the beater and body from the drum itself. This distance also works well when the front head is removed. For more beater definition, move the mic further inside the drum.
2: Double mic'ing will enable a useful blend of beater click and low-end weight. With this set-up, the first mic - preferably a rugged dynamic type - can be placed further inside the drum and aimed at where the beater strikes. The second mic can be placed outside the drum to capture a rounder, full-bodied tone. Large diaphragm condensers are often employed in this role; however, any mic with a good low-end response can be used.
3: Sometimes, placing a mic inside the drum is not an option. In this case, use the first mic on the resonant head with a second mic positioned at the batter head, aiming towards the beater. Common dynamic mics, such as the Shure SM57, work well in this position and allow the first mic to be used further away from the resonant head if desired. Try inverting the phase of one or both of the mics to achieve the most solid sound in the mix.
Step By Step - Isolating the Bass Drum
1: It's a good idea to try to achieve good separation on the bass drum channel, especially if heavy processing is to be carried out. Using a microphone with a cardioid pick-up pattern is the best way to proceed. Position the mic close to the resonant head, pointing slightly downwards to reject sounds from the snare drum, tom toms and cymbals. If the mic can be placed just inside the drum, this will provide a good deal of separation.
2: Consider constructing a drum tunnel. This can be done by draping a thick blanket or duvet over the top of the bass drum, with a couple of small mic stands or other objects of a similar height to the bass drum providing support several feet away. This should be done once the microphones have been suitably positioned. Producer Butch Vig famously built a drum tunnel from several bass drum shells when recording Nirvana's classic Nevermind album.
3: Once your drum track has been recorded, the bass drum can be tightened up and isolated from other sounds by making use of a noise gate. Setting up noise gates can be tricky, so it's usually best to record the track without a gate, in case a weak bass drum strike fails to open the gate and is not recorded. Leave gating until mixing. Once the bass drum track is separated, EQ and dynamic processing will not affect other elements of the drum track.
A great kick drum sound is, of course, the foundation of any modern drum kit recording. Getting it right will help give your track the right feel, whether you're after a killer funky groove or a hard-rocking, driving beat. The first thing to address is the drum itself; no number of fancy mics or techniques will rescue a poor-sounding drum.
Before you begin mic'ing, make sure that the drum is nicely tuned and free of rattles, and have some lubricant handy to deal with squeaky bass drum pedals. Bear in mind that drums are sensitive to changes in room temperature, so leave it to settle before evaluating the sound if the drum has come from a cold storage room into a warm studio.
Bass drums come in various sizes, both in terms of diameter and depth, and this has an enormous impact on the type of sound they will produce.
The most common sizes are 20-22 inches in diameter with a depth of between 14 and 16 inches. These are usually best for most recordings, although great results can be had from smaller drums, often found with jazz kits. Larger kick drums are capable of delivering a deep low-end, but often lack the tightness and punch of standard sizes.
The AKG D112 is a microphone designed specifically for bass drum recording
A common problem with bass drums is excessive boom and ringing. Although much of this can be carefully tuned out, it's often necessary to use some dampening material, such as a blanket or pillow, inside the drum. Depending on the amount of damping required, the material can be placed touching either or both the batter head and resonant (front) head.
Some engineers like to remove the resonant head for recording, enabling easy placement of mics inside the drum. However, this will completely alter the tone of the drum and can result in rattling lugs if the rim is left off. A better compromise is to cut a hole in the resonant head, and these days many heads are available with a pre-cut hole.
Another major contributor to the sound is the type of beater used - a wooden or plastic beater will create a harder sound with more attack than a felt-covered one. Similarly, if a pad is used on the batter head where the beater strikes, a harder material will produce a sound with more click. Once you have got the drum sounding good at source, you can think about microphone types and mic'ing techniques.
There are numerous microphones available designed specifically for bass drum recording, the most famous being the AKG D112. Dedicated bass drum mics are usually voiced to accentuate the desirable tonal aspects of the drum while scooping out some of the less useful lower-mid frequencies.
Dynamic mics are often the first choice for bass drum recording, especially when close-mic'ing techniques are employed, as they can withstand high SPLs. Classic dynamic mics such as the Sennheiser MD 421 and Electro-Voice RE20 are popular choices for recording bass drums, and many great bass drum sounds have been achieved with that brilliant all-rounder, the Shure SM57. Large diaphragm condenser mics are also good for capturing a good low-end response with plenty of weight, and many engineers like to use one in conjunction with a dynamic mic; the Neumann U47 FET is highly regarded as a bass drum mic.
Mic Positioning
There are no hard and fast rules when finding the best mic'ing position, however it's useful to know a few basic techniques and how different locations will accentuate differing aspects of the drum's sound.
If the drum you are recording is fitted with a resonant head without a hole, and presuming that the drummer doesn't want a hole to be cut or the drum head removed, you will be mic'ing externally. It's usually a good idea to angle the mic downwards slightly to get good separation between the bass drum and the rest of the kit.
Of course, if you are recording just the bass drum in isolation - to build a sample library, for example - spillage won't be an issue. When you have access to the inside of the drum, you can experiment with the proximity of the mic in relation to the beater.
Great mics for recording kicks include classic dynamics, such as the Sennheiser MD 421 and Electro-Voice RE20
Positioning the mic close to the beater and on-axis will produce a sound with lots of attack, often at the expense of tone. A good starting point is to place the mic just inside the drum and slightly off-axis, moving in closer if more beater definition is desired.
It's also worth experimenting with the direction of the mic within the drum, as it doesn't necessarily have to point directly towards the batter head. Try pointing the mic towards the drum shell for a sound that is rounder and mellower than pointing straight ahead.
When more than one mic is employed, you can use each one to bring out specific qualities of the drum's tone. A common two-mic method is to have a dynamic mic deep inside the drum to pick up the beater click, with another mic outside the drum to capture a fuller, deeper tone.
Some engineers like to place an external mic several feet away from the drum, an approach that can work well as long as spillage from other instruments - guitar amps for instance - doesn't make this technique problematic. You don't have to limit yourself to mic'ing the drum from the front, though.
Placing a mic at the batter head, pointing towards the beater, can add definition and punch, though not much in the way of low-end heft.
This position wouldn't be ideal as the only bass drum mic, but can really help the drum cut through a mix when used in conjunction with a front mic, especially if the resonant head does not allow for internal mic'ing.
Spending a little time getting the sound right with good mic'ing techniques will go a long way to achieving a great bass drum sound; however, a little EQ is sometimes needed to help the sound along the way. If the drum sounds a bit boxy - a common problem with bass drums - try cutting some low-mids between 300-700Hz. A boost somewhere in the region of 3-5kHz will help bring out the beater click if more bass drum presence is required.
At the top end of the frequency spectrum, the sound can be fine-tuned by rolling off some high frequencies from around 10kHz, as there is little useful information here; this will help minimise any cymbal spillage, as well as creating space for genuine high-frequency sounds in the mix.
One of our recent favourites for drum mic'ing is the Neumann U47 FET remake
A low-end boost around 60-80Hz can add some body to a thin-sounding bass drum if it lacks some low-end weight, but avoid shelving boosts in the 100Hz region, as this can dial in muddiness.
Compressing the bass drum to even out the sound is often useful; try using a medium attack time with a fast release and a ratio between 2:1 and 4:1, aiming for 2-3dB of gain reduction.
Higher ratios and levels of gain reduction can work with highly dynamic drum recordings. For a really driving, rhythmic sound, compress the whole kit and push the bass drum to make the compressor pump in time with the track. Experimenting with the release control is key here to get the pumping rhythm just right. Alternatively, leave the bass drum out of the drum-kit mix-buss to avoid unwanted pumping artefacts.
When mixing the bass drum as part of a whole kit recording, remember that other mics, such as the overheads, will inevitably pick up some bass drum sound, so make sure you make your EQ and compression processes within the context of the kit and not just in isolation. And, as always in any multi-mic situation, check the phase relationship between microphones.
Before reaching for the EQ when trying to rescue a weak-sounding bass drum, invert the phase - you may well find that the sound suddenly becomes more solid and focused.
Finally, unless wacky 1960s-style stereo effects are desired, the bass drum should not be panned to the left or right of the stereo picture. Leave it in the centre, along with the snare drum track and other low-frequency instruments to produce the best foundation for your track.
Step by Step - Single & Double Mic'ing
1: The best starting position for a single-mic technique is to place the mic close to the resonant head, slightly off-axis and angled downwards to achieve some separation. If the drum has a hole cut into it, position the mic just inside the hole for a good balance of attack from the beater and body from the drum itself. This distance also works well when the front head is removed. For more beater definition, move the mic further inside the drum.
2: Double mic'ing will enable a useful blend of beater click and low-end weight. With this set-up, the first mic - preferably a rugged dynamic type - can be placed further inside the drum and aimed at where the beater strikes. The second mic can be placed outside the drum to capture a rounder, full-bodied tone. Large diaphragm condensers are often employed in this role; however, any mic with a good low-end response can be used.
3: Sometimes, placing a mic inside the drum is not an option. In this case, use the first mic on the resonant head with a second mic positioned at the batter head, aiming towards the beater. Common dynamic mics, such as the Shure SM57, work well in this position and allow the first mic to be used further away from the resonant head if desired. Try inverting the phase of one or both of the mics to achieve the most solid sound in the mix.
Step By Step - Isolating the Bass Drum
1: It's a good idea to try to achieve good separation on the bass drum channel, especially if heavy processing is to be carried out. Using a microphone with a cardioid pick-up pattern is the best way to proceed. Position the mic close to the resonant head, pointing slightly downwards to reject sounds from the snare drum, tom toms and cymbals. If the mic can be placed just inside the drum, this will provide a good deal of separation.
2: Consider constructing a drum tunnel. This can be done by draping a thick blanket or duvet over the top of the bass drum, with a couple of small mic stands or other objects of a similar height to the bass drum providing support several feet away. This should be done once the microphones have been suitably positioned. Producer Butch Vig famously built a drum tunnel from several bass drum shells when recording Nirvana's classic Nevermind album.
3: Once your drum track has been recorded, the bass drum can be tightened up and isolated from other sounds by making use of a noise gate. Setting up noise gates can be tricky, so it's usually best to record the track without a gate, in case a weak bass drum strike fails to open the gate and is not recorded. Leave gating until mixing. Once the bass drum track is separated, EQ and dynamic processing will not affect other elements of the drum track.
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