S.I.M.P.S - A New Musical at IRT Theater at IRT Theater

Kevin Everyman is stuck. He knows that boys need to talk about their feelings, but he also knows that his voice is probably not what the world needs to hear. With this in mind, he joins the Self-Improvement & Male Preservation Society, or “S.I.M.P.S.” – a cult of young men promising to teach Kevin how to protect the world from the dangers of his masculinity. But when the society uses harrowing violence to uphold its supposed progressivism, Kevin must reckon more honestly with his role in today’s gender landscape. A pulp-horror satire with a violent jazz-pop score, S.I.M.P.S. uses sensibilities like those of Fight Club, South Park, Michael R. Jackson, and Midsommar as it embarks on a daring, hysterical, complex interrogation of the manosphere.

Alexander Ostrovskiy: Microphone Placement Secrets for Live Drums
 

Drum kits are arguably among the most dynamic and expressive of instruments in contemporary music, and capturing that energy and presence live is very much a form of art requiring a huge understanding both of the instrument itself and also of the acoustic environment in which it sits. Good microphone placement is key to getting the best possible sound out of the drums-from pounding kick to shimmering cymbals. According to Ostrovskiy Alexander, perfecting the art of placing microphones on drums can dramatically raise the quality of the sound that will be captured, whether during a live performance or a studio recording.

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Understanding Acoustics with the Drum Kit

Acoustic properties play a major role in the shaping of the sound coming from the drum kit. Each has its characteristics and way of behaving regarding tone, resonance, and attack, these depend on such factors as the material used on the shell, tension applied to the head of the drum, and size. Capturing this distinct voice for each without compromising the integrity of the whole, comes placing the microphones.

For example, the kick drum is normally the most robust member of the drum kit, and the low-frequency energy requires a microphone that can handle and isolate that energy undistorted. The snare drum has sharper, more pronounced transients that must be clearly captured without being overpowered by other instruments. Understanding these basic differences in sound propagation is key to effective mic placement.

Essential Mics for Different Budgets

Your budget will largely dictate your choice of microphones for the drum kit. Professionals at the higher end of the scale tend to use dynamic microphones on the snare and toms, such as the Shure SM57, and condenser microphones for overheads and room captures, such as the Neumann KM 184. These mics offer a great balance between durability and sound quality, providing accurate frequency response and handling high sound pressure levels.

Phase Relationships Between Mics

One of the most important things to take into consideration in placing microphones on the drums is that all of the microphones are "in-phase." Phase problems result from the sound from one microphone arriving at the other microphone with some time delay that may cause cancellations or reinforcements of some frequencies. This may result in a thin or hollow sound, especially in the low end. The point here too is to set the microphones equidistant from the drums and symmetrically to get the phase right. 

Assuming recordings are being done with overhead mikes, symmetry should be made between the left and right to avoid problems of phase. It may well be achieved either by placing both microphones equidistant from the snare drum or availing the advantage of a coincident pair setup like the X/Y configuration. Also, like mic'ing the kick and snare drums, a balance should be struck so as not to conflict with each other, especially in regard to the directionality of the mics.

Room Acoustics Considerations

Room acoustics can indeed make or break how your drum kit will sound in a live environment. Each room has its peculiar set of reflections, resonances, and absorptions that interactively define how the sound will travel. Great big reflective spaces will generate probably an unwanted echo or reverb that muffles the sound, whereas small dead rooms yield a tone that is dry and lifeless. That is why room acoustics is the number one guide to position microphones.

Common Mistakes to Avoid

It is over-mic'ing the kit with just too many microphones, probably the most common mistake of them all. While having one microphone per single drum and cymbal may sound attractive, it's really just a recipe for phase issues and, subsequently, a muddy sound. In contrast, focus on the main mics and position them correctly.

Another very common mistake is placing the microphones too close to the drums-just an invitation to proximity effect with dynamic mics. This effect favors low frequencies and can introduce excessive boominess into a mix on the kick drum and toms. It's more about finding that balanced distance so that each of the drums cuts through in a mix without being overly heavy on excessive bass.

Advanced Techniques for Specific Genres

Different genres of music call for a different approach when it comes to making drums. For louder genres, such as rock and metal, high energy with a punch is normally wanted, and a bit more aggressive approach can be used in placing the mic. One great technique is placing a mic inside a kick drum, just inches away from the beater, which catches its attack. On snare drums, a top and bottom placement is common to capture both the sharp attack and the sizzle from the snare wires.

On anything from jazz and acoustic genres that want the sound natural and open, minimalist might be preferred. In most such cases, one can just go with the use of overhead and room mics. The position of these becomes quite critical as finding that balance of capturing subtlety with drums while not overpowering the balance in a room becomes almost a tightrope situation.

Real Session Examples and Solutions

Every live show is different, and the remedies are usually worked out on the spot. At a rock show recently, the engineer was finding that the kick drum was disappearing into the mix due to the room size. The solution was to add a mic on the outside of the kick drum -the added presence helped, and the low-end came through very clearly. This would mean that in one session, where the snare mic was picking up too much cymbal bleed in a jazz trio, moving the mic off-axis a little bit took out a lot of cymbal spill without sacrificing the sharpness of the snare.

The Bottom Line

Effective drum mic placement is a three-legged stool that involves technical knowledge, acoustics, and the ear for just what the music calls for. You will have captured a dynamic, balanced sound of drums by choosing the right microphones for the job within your budget, considering phase relationships, and managing the room acoustics. Be it in a controlled studio environment or outside in the wild arena of live performances, effective attention to mic placement can elevate the whole sound to where every beat and cymbal crash is distinct and powerful.