Five Steps to a Better Drum Sound

Unlike recording a single source such as a guitar or vocal part, getting a decent drum sound can require a bit more skill and patience. Learning to balance the crack of the snare with the crash of the cymbals takes some practice to get it right, especially since the tone and timbre of the kit can change significantly from one song to the next. Here are some basic tips for getting a good-sounding drum track, taking into account which microphones to use, where to put them, ensuring the kit is properly tuned, plus other ideas.

Find The Right Spot
When it comes to good drum recording, choosing the right spot to place the kit is half the battle. A room with a slightly higher ceiling is ideal, as it allows the snare drum in particular to fully resonate, and also gives you ample room to place overhead microphones. If that's not in the cards, you can experiment by simply moving the drums around until you find a place where the kit sounds nice and alive (the middle of a room often works well, for instance).

Stay Tuned
Like any instrument, drums are at their best when properly tuned. Before laying down tracks, be sure to spend some time with a tuning key so that the entire kit is appropriately pitched. Using your ears, carefully adjust both top and bottom heads of each drum, taking care to remove any annoying ringing sound from the snare drum, while also tweaking both rack and floor toms so that they're resonant but not overly so. Above all, try to get an overall sound that's right for the music you're recording-if it's jazz or light pop, a slightly "tighter" snare may be preferable, for instance. In addition to tightening/loosening the drum lugs, some dampening material such as gaffer tape, gel, or even light dish towels placed strategically across the heads can help you achieve the right sound.

Pick a Miking Scheme
Miking up a drum kit can be a subjective thing, however there are certain configurations that have long been standard practice. How many mics should you use? If you're really into simplicity, you could conceivably get away with just a single mic placed directly in front of the kit, aimed just above the bass drum and pointed towards the snare. For a more versatile approach, though, consider using one mic each for the snare, bass drum, rack toms, floor tom, as well as above the kit (for true stereo sound, add a second overhead mic, though watch out for potential phasing issues if you do).

Use the Right Mics
Again, there are no hard-and-fast rules about what type of mics to use for drums, though it does help to consider popular choices that have been widely accepted over the years. By and large, you'll want to go with dynamics for up-close miking-this might include a Shure SM57 or similar model on the snare drum, rack and floor toms (the venerable Sennheiser MD421 also excels on the latter two), and ideally something with a bit more bass response for the kick drum (such as the popular AKG D112, or in a pinch, a Shure SM58). Condenser mics are generally best for overheads, and include the RODE NT2-A, an affordable model based on the infinitely pricier Neumann U87. Be sure to use the built-in volume pad to prevent distortion when using condensers over a drum kit.

Choose a Good Drummer
Perhaps the most important part is having a musician who intuitively knows how to get the most out of a drumkit, particularly in a recording situation. Yes, microphone positioning is key, as is having a set of quality drums that are well-tuned and rattle-free. But none of that really matters if the drummer isn't tuned in to the song at hand. It's why engineers often say that if there's a great drummer in the room, all you have to do is put up a few mics and off you go.