HOLY HOLISM
So there you have it: the four components of recording a drum kit. Each is vital to the quality of the final product. Think of them as four stages to getting a great sound: by working to maximize each stage from the start, you ensure higher quality overall. Even when working with minimal gear, don't underestimate the power in getting all four components just right. When a drum kit is slamming in the room, a single well-placed mic can capture a track that will knock your socks off in the mix.
In short, capturing a great drum sound is a sum of many parts, and not merely the result of using certain gear. What's needed, and what all great recording engineers necessarily use, is a holistic approach — one that takes all variables into account while keeping the big picture in mind. I hope this article clarifies that approach and helps make your drum recordings easier as well as better.
Brian Knave is a former senior associate editor at EM. He now lives in Salvador, Bahia, Brazil, where he is converting a dog kennel into a recording studio.
DRUM TUNING 101
A drum is essentially a cylinder with a vibrating head stretched tightly over each end. Hoops, typically made of metal but sometimes made of wood or plastic, hold the heads against the bearing edges of the drum shell. The hoops are held in place by a number of tunable lugs (typically 5 to 12, depending on the size and type of drum) positioned equidistantly around the drum shell on either end.
Your first objective when tuning a double-headed drum is to get each head in tune with itself. Start with either head. While the drum is suspended (whether on a mount or by hand), tap the head with a finger, stick, or mallet at each lug point and tune so that all points are the same pitch. Now do the same for the other head.
Next, get the drum's two heads in tune with each other. Generally, the best interval to start with, at least for toms, is with both heads tuned to the same note, or in “unison.” The note does not have to be a particular pitch; it should, however, be in a comfortable range for the drum, neither too high (tight and choked sounding) nor too low (loose and flappy). When you find the just-right combination, the drum will sing its note freely.
From unison, there are two directions you can take the tuning: make one head tighter than the other, or make it looser. (Tip: tune from the bottom head so as not to affect the desired playing response of the top head.) Experiment with these tuning variations to learn how they affect the sound differently — there's a big range of sounds at your disposal.
On a snare drum, the bottom head is typically thinner and, for many styles (such as jazz), tuned higher than the top (batter) head. Such a tuning maximizes a “crisp” response from the snares. Conversely, tuning the bottom head looser than the top makes for a lower, heavier sound — more rock and roll.
Note, too, how the tension of the snares affects the drum sound. As with the heads, if the snares are too tight, the sound gets choked. If the snares are too loose, they're likely to buzz excessively.
Like toms, double-headed kick drums usually sound fine — if not best — with the heads tuned in unison. Often, though, drummers tune the batter head lower than the front one so as to get a lower note from the drum. Though a low kick-drum note is generally desirable, make sure the drummer hasn't made the batter head too loose — the head should not be flappy to the point of showing wrinkles, or else the drum's resonance can “dry up” beyond recognition (at which point you might as well be recording a cardboard box).
An overly-resonant double-headed drum can be dampened by leaning a pillow or blanket against the front head. A thick blanket thrown over the whole drum — a helpful technique for isolating the kick-drum mic — can also dry up the tone a bit. If the kick has only one head, or a sizable hole in the front head, you can adjust the balance of attack (dry thud) and decay (resonance) by altering the position of the dampening material inside the drum (blanket, pillow, or whatever). Push the material more up against the batter head to increase attack, and pull it more away to increase resonance or “tone.”
ENGINEER'S (SECRET) DRUM TOOLKIT
Here are some items that can prove indispensable to getting you through the obstacle course of a drum-recording session. The trick is to pull them out only when necessary; you don't want to give the impression you're infringing on the drummer's territory. Fortunately, most pro players will have all contingencies covered; that's one of the reasons they carry a trap case. But you can never be too prepared.
Essentials:
Drum key(s)
Cymbal felts and sleeves
Can of lightweight oil (to squelch squeaks)
Roll of fine, strong twine (for securing snares and other duties)
Assorted pieces of cloth, felt, and foam rubber (for drum dampening)
Sturdy masking tape (for attaching drum-dampening materials)
Duct tape (for just about anything else)
Scissors and single-edged razor blades
Adjustable wrenches, screwdrivers, and heavy pliers
Assorted blankets, pillows, and towels
Drum rug (preferably with a rubber bottom)
Handy Additions:
Snare-drum batter head (14-inch coated is standard)
Snare-drum bottom head (14-inch clear thin is standard)
A pair or two of drum sticks (5A and 5B are common sizes)