For some reason, a lot of engineers are drummers. I got my start in pro audio about 50 years ago, playing drums in club bands. In-between bands or gigs, I’d “do” sound for other acts. It wasn’t exactly engineering — more like attempting to get anything out of broken-down P.A. systems.
Today, I’m still engineering and play occasional studio or live gigs, and the art and science of achieving drum sounds is a lifelong passion. Yet that quest is not limited to myself, as new drum-specific mics keep coming out, such as the DPA 4055, sE Electronics BL8 and — just as we went to press — the new “Snare Mic” from Lauten Audio. And fairly rare years ago, techniques like multi-miking single drums, such as inside / outside kick mics or top / bottom snare miking — are more of a standard practice these days.
However, no microphone can make bad drums sound good. And quality mics only magnify problems such as squeaky pedals, snare buzz or rattling hardware. Unfortunately, engineers are frequently put into the awkward position of telling players their drums sound bad. To make matters worse, this usually comes up during sound check, and rather than working on the band’s overall sound, valuable time is often wasted trying some last-ditch efforts —usually involving the horrors of duct tape.
The wise engineer should learn some fundamentals of drum tuning and perhaps have a few items, such as a kick pillow or a drum key, available for emergencies. A little knowledge can go a long way toward getting that great drum sound. It’s a worthwhile investment.
