Kick Drum Microphone
April 19th, 2010Recording Tips: How to Make Better Mixes
Recording and mixing audio is truly an art form unto itself. Like playing bass, it’s the type of thing most people can pickup quickly and without much effort. Getting good at it can take years, however.
I’ve been recording in my home studio since 1995. When I go back and listen to my early demos, I am appalled. They sound horrific. The EQ is terrible, they are overly compressed, they’re muddy, and all of the tracks blend together into a massive “wall of sound” where no single instrument stands out. But I like to think my current work sounds infinitely better. Take a listen to the tracks on my Demos page. I mixed these in 2006 on a shoestring budget. My entire recording “studio” cost me $500. I used budget mics, budget preamps, and budget PC audio interfaces. (One interesting note: In the song Confession, I used a $400 mic on the words “Am I going crazy? Could you ever turn your eyes my way?” The rest of the song was recorded with a $65 microphone. To this day I can’t hear any difference in quality.)
What was the secret to making better mixes? It was simple. I listened.
I would listen to my mixes over, and over, and over, and then do it again. I listened to my songs on headphones, in my car, in my girlfriend’s car, on my home stereo system, on a portable CD player, etc. During every listening session I would find something that could be improved. Over time, I figured out the fundamental principles of good mixing. I also read plenty of industry magazines, online articles, Internet forums, and whatever else I could find that would enlighten a novice like me. In the end, I was able to produce mixes I was very happy with.
Here, then, are the biggest nuggets of wisdom I wish someone had preached to me in my early days:
- You don’t need expensive gear. That’s right. Despite what manufacturers and retailers may say, the secret to good sound is not in the equipment. Using poor recording and mixing techniques on expensive gear will still result in a bad final product. It doesn’t matter how nice your API preamp or LA-2A compressor is. If you don’t know what you’re doing, the results will be garbage. Just like buying a custom Les Paul won’t make you sound like Jimmy Page! Once you’re able to produce good mixes on budget gear, you can justify a gear upgrade.
- A little processing goes a long way. The abundance of VST and RTAS plugins is both a blessing and a curse. We musicians now have access to an endless collection of software compressors, equalizers, limiters, enhancers, reverbs, etc. But with this power comes responsibility. Use them sparingly! I once held the opinion that because I had tons of plugins at my disposal, I needed to use all of them as much as possible. I was wrong. Excessive plugin use can ruin a mix. These days I use very light compression and very subtle EQ adjustments, and the results sound much more natural.
- Create “space” for each track. Every instrument should have its own “space” in the mix. By “space” I’m referring to track identity…the things that separate each track from the others, so they can be heard properly. Think of this way: When you take a big family photo, how is everyone positioned? Does everyone clump together randomly? Or does everyone organize according to height and spread out evenly? Your mixes are like musical photographs. Think of each track as an individual that should be noticed in some way. Track “space” can be created by using proper EQ techniques, stereo field placement, volume, compression, and reverb/delay settings. For example, bass guitar and kick drum occupy much of the same frequency range. If each is not EQ’d intelligently, they will step all over each other, and neither will be identifiable. There are tons of good Internet articles on this subject, so read up. I may even write one myself.
- Understand how EQ and Compression works. You’ll be amazed at how much better your mixes will sound if you use proper EQ and Compression techniques. Each has its own set of rules, and the rules are specific for each type of instrument. For instance, electric guitar requires different EQ and Compressor settings than do vocals. Drums usually need a fast attack and quick release on the Compressor, while the opposite is true for bass. Again, there are plenty of online articles dedicated to this subject alone.
- Carefully evaluate the mixes of your favorite artists. Everyone has their own taste. Whatever artist(s) inspire you with their sound, pay attention to the mix. Is it heavy on bass? Are the drums super compressed? Are the vocals subdued, or way out front? Study the sound carefully and try to emulate it. I’ve spent almost as much time listening to the sound of professional CD mixes as I have listening to my own. It’s very educational.
- Last, but not least: DO NOT OVERCOMPRESS YOUR MASTER. You may not be aware, but there is a current trend in the recording industry to make every CD louder than its competitors. This is known as the “loudness war” and it is getting out of hand. Using insane levels of compression destroys the dynamics (the change between quiet and loud parts) of a mix. The end result is a song that stays at exactly the same level—insanely loud—the entire time. Not only does it sound unnatural, it causes listener “fatigue”. The human ear wants to hear natural changes in volume. It helps create more emotion in the listener. Your heavy and energetic chorus will have much more impact if it’s actually louder than your verse! Be a part of the solution: Use your compressor and limiter wisely during the mastering stage! Even for rock music, you probably don’t want more than 3db of compression during your mastering.
That’s it for this article. I plan to write follow up articles that examine these topics, and more, in more detail. I hope this has been helpful.
Make music,
Dan
About the Author
Bassist, Songwriter, and Recording Engineer. View my site for music articles, demos, and more.
www.DanAtkinson.net
dan-atkinson.blogspot.com
Processing the kick drum Shure Mic Beta 52A
Primacoustic KickStand Microphone Boom Stand Isolator $74.95
The Primacoustic IsoTools KickStand is a massive microphone boom stand isolator designed to eliminate resonance vibrations from the stage, drum riser & studio floor from entering the mic. A thick high density foam isolation pad covers the entire bottom. An innovative laser cut steel platform is shaped to eliminate standing waves while offering sufficient clearance to allow a mic boom to swing into…
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Sennheiser e600 Drum Microphone System with Stands, Cables, and Headphones $999.95
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E902TBCBL $199.95
This Package Contains One Sennheiser E902 Dynamic Bass Drum Microphone E-902 ; One Ultimate Support Jamstand TB-50 Telescoping Boom; One 20 Foot XLR to XLR Microphone Cable…
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New Pyle Pro Audio PDKM7 Seven-Piece Drum Microphone Kit Condensor Overhead Mics Kick Drum Mic $127.28
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Wii Guitar Hero World Tour Band Kit $119.99
Guitar Hero World Tour Band Kit Wii…
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On Stage Kick Drum/Amp Micophone Stand $25.26
This kick drum/amp mic stand features a 16 inch adjustable boom, comapct, U-shaped base instead of the tripod design. Heigt is adjustable from 8 to 14 inches.
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Shure PG52 Performance Gear Kick Drum Microphone $119
The PG52 Kick Drum Microphone is a high-performance microphone tuned to capture low-end punch of a kick drum or bass amp.
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On-Stage MS7920B U Base Amplifier/Kick Drum Boom Microphone Stand $21.95
This kick drum/amp mic stand features a 16 in. adjustable boom, compact, U-shaped base instead of the tripod design.
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Shure Beta 52A Kick Drum and Bass Microphone $189
The Shure Beta 52A is a high output dynamic microphone with a tailored frequency response designed specifically for kick drums and other bass instruments. It provides superb attack and ‘punch’, and delivers studio quality sound even at extremely high sound pressure levels. The Beta 52A features a modified supercardioid pattern throughout its frequency range to insure high gain before feedback and excellent rejection of unwanted sound.
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Electro-Voice N D868 Kick Drum Microphone $249
The Electro-Voice N/D868 kick drum microphone is truly a top performer in any application. Whether in a live sound or studio environment, the N/D868 is able to handle incredibly high sound pressure levels without distortion or overriding the input mixer. With a response specifically designed to “kick” the N/ D868 can be used as is–without additional EQ. Electro-Voice was the first microphone manufacturer to utilize the neodymium magnet structure, and it remains at the heart of the new N/DYM series of microphones.Designed specifically for kick drum applications in live or studio environmentsOptimized sensitivity for the high sound pressure levels found in bass drum mikingExtended low-frequency responseNo additional EQ requiredRugged steel construction for exceptional durability
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Kelly Shu Composite Kick Drum Microphone Mount $47.95
Composite series Kelly SHU mounts are incredibly strong and durable. They are made using high-density reinforced compounds and are injection molded under a tremendous amount of pressure. The Kelly SHU Composite accepts any standard kick drum microphone that has a threaded base or mic clip. The Kelly SHU Composite series also gives you your choice of our exclusive internal and external installation options, both within the same product. All the installation components that ship with the Composite series mounts are the same as is included with the Kelly SHU Pro Systems. The System requires NO DRILLING for installation.Composite Kick Drum Microphone Mount Strong and durable Accepts any standard kick drum microphone Internal and external installation option No drilling required for installation The Kelly SHU Composite System includes The Kelly Shu composite SHU mounting unit 10 installation adjustment holes with grommets 16 support cord hooks 2.75 ft of solid rubber support cord 8 interior installation loops Universal microphone post with standard threads Oversized jam nut Complete installation instructions
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CAD KBM412 Bass and Kick Drum Microphone $69.99
THe CAD KBM412 Bass & Kick Drum Microphone is specifically designed for bass drum and other low-frequency sources. Its large neodymium diaphragm element offers extended low frequency response down to 25Hz and high SPL handling. Rugged die-cast microphone body with a hardened external screen retainer (also includes a shockmount saddle), provides isolation and excellent protection from mechanical noise. The CAD KBM412 also performs extremely well as a dynamic mic for large toms and other large-diameter percussive instruments in addition to bass and guitar amps.
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Cad Kbm412 Bass And Kick Drum Microphone $69.99
THe CAD KBM412 Bass & Kick Drum Microphone is specifically designed for bass drum and other low-frequency sources. Its large neodymium diaphragm element offers extended low frequency response down to 25Hz and high SPL handling. Rugged die-cast microphone body with a hardened external screen retainer (also includes a shockmount saddle), provides isolation and excellent protection from mechanical noise. The CAD KBM412 also performs extremely well as a dynamic mic for large toms and other large-diameter percussive instruments in addition to bass and guitar amps. Specifically designed for bass drum and other low-frequency sources Large diaphragm delivers response down to 25Hz High SPL handling Rugged die-cast body Hardened external screen retainer Shockmount saddle provides isolation and excellent protection from mechanical noise Ideal for large-diameter percussive instruments and bass and guitar amps
Click here to learn more about Cad Kbm412 Bass And Kick Drum Microphone
Used Cad Kbm412 Bass And Kick Drum Microphone $63.69
THe CAD KBM412 Bass & Kick Drum Microphone is specifically designed for bass drum and other low-frequency sources. Its large neodymium diaphragm element offers extended low frequency response down to 25Hz and high SPL handling. Rugged die-cast microphone body with a hardened external screen retainer (also includes a shockmount saddle), provides isolation and excellent protection from mechanical noise. The CAD KBM412 also performs extremely well as a dynamic mic for large toms and other large-diameter percussive instruments in addition to bass and guitar amps. Specifically designed for bass drum and other low-frequency sources Large diaphragm delivers response down to 25Hz High SPL handling Rugged die-cast body Hardened external screen retainer Shockmount saddle provides isolation and excellent protection from mechanical noise Ideal for large-diameter percussive instruments and bass and guitar amps
Click here to learn more about Used Cad Kbm412 Bass And Kick Drum Microphone
Sennheiser Evolution E902 Dynamic Kick Drum Microphone $199.95
Winner of the TEC Award for Outstanding Technical Achievement (2005) and the m.i.p.a award for Best Drum Microphone (2005), the Sennheiser e902 is a dynamic mic designed to reproduce the lowest bass sources and handle extremely high sound pressure levels. It is ideal for kick drums, bass guitar amps, tubas, and any other bass instruments. Exceptionally clean and clear reproduction of the deepest bass signals. Cardioid pickup pattern. Frequency response: 20Hz – 18kHz. Rugged construction for touring stage applications.Frequency response optimized for kick drumVery fast attackExceptionally clean and clear reproduction of the deepest bass signalsIntegral stand mountHum-compensating coilShock-mounted capsuleRugged metal body
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Nady DM-90 Dynamic Kick Drum Microphone $39.99
The Nady DM-90 Dynamic Kick Drum Microphone was specially designed for the most accurate reproduction of extended low-frequency instruments and amps. The Nady DM-90 mic features a dynamic element and large diaphragm for capturing the attack, punch, and high SPL of bass drums. Supercardioid pattern for ultimate feedback rejection, and a rugged die-cast body with internal shockmount and hardened steel grille.
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Heil Sound PR 48 Kick Drum Microphone $242
The Heil PR 48 kick drum mic starts with Heil’s 1.5″ large diaphragm dynamic element sealed in a vulcanized shock mount and fed with a specially designed low-pass filter that creates a 10dB rise from 60Hz to 100Hz right where the kick drum resonates. The drum microphone stays out to 7.5 kHz and drops off drastically to eliminate any unwanted internal sounds. The total frequency response is 30Hz – 8.5kHz (4dB rise @ 4500Hz). Its rear rejection is -40dB @ 180° off-axis. It can handle +148dB SPL. The Heil PR 48 microphone’s metal housing was designed with a slanted entrance to the 3-pin XLR so the cable assembly is easier to connect. The microphone provides a 600 ohm balanced output.The Heil HDK drum kit series is a culmination of over 2 years spent on the road with leading drummers. They gave Heil their ideas, dreams, and needs which Heil then turned into reality. Every component of a drum kit needs special attention when it comes to reproducing the sound accurately. There are many drum microphones out there, but the artists that helped design the Heil drum microphones wanted more accuracy, not just level. Each one of them were tired of little plastic toys that did not reproduce well. They all agreed, after hearing and using the technologies of the Heil drum microphones, that they had never heard this level of quality reproduction.
Click here to learn more about Heil Sound PR 48 Kick Drum Microphone
Heil Sound Pr 48 Kick Drum Microphone $242
The Heil PR 48 kick drum mic starts with Heil’s 1.5″ large diaphragm dynamic element sealed in a vulcanized shock mount and fed with a specially designed low-pass filter that creates a 10dB rise from 60Hz to 100Hz right where the kick drum resonates. The drum microphone stays out to 7.5 kHz and drops off drastically to eliminate any unwanted internal sounds. The total frequency response is 30Hz – 8.5kHz (4dB rise @ 4500Hz). Its rear rejection is -40dB @ 180 off-axis. It can handle +148dB SPL. The Heil PR 48 microphone’s metal housing was designed with a slanted entrance to the 3-pin XLR so the cable assembly is easier to connect. The microphone provides a 600 ohm balanced output.The Heil HDK drum kit series is a culmination of over 2 years spent on the road with leading drummers. They gave Heil their ideas, dreams, and needs which Heil then turned into reality. Every component of a drum kit needs special attention when it comes to reproducing the sound accurately. There are many drum microphones out there, but the artists that helped design the Heil drum microphones wanted more accuracy, not just level. Each one of them were tired of little plastic toys that did not reproduce well. They all agreed, after hearing and using the technologies of the Heil drum microphones, that they had never heard this level of quality reproduction.1.5 diaphragm dynamic elementUtilizes a low-pass filter with a 3dB hinge point at 30Hz and 8.5kHzmetal housingStandard 5/8-27 threadSlanted entrance to the 3-pin XLR male connector
Click here to learn more about Heil Sound Pr 48 Kick Drum Microphone
On-Stage Drum Set Microphone Stand and Clips Pack $59.95
The On-Stage Drum Set Microphone Rim Clip and Stand Package is the perfect package for anyone that needs to mic drums with out the bulk of a bag full of mic stands. This package includes five On-Stage DM50 drum rim clip microphone mounts and one MS7920B kick drum/amp mic stand.
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