We’ve got our reverb chamber all wired up, and we like it a lot. To celebrate, I’m posting some drum tracks we’ve been recording with Johnny Flynn & the Sussex Wit, whose wonderful drummer David Beauchamp has been worked nearly to death today.
He had a great little kit that he’d tuned up really well, so we mic'ed him up using the Glyn Johns’ technique: not too many mics, lots of measuring the distance between them with tape measures. A Coles ribbon mic is placed 4-6 feet about the snare, and it’s partner is placed exactly the same distance from the snare, in the horizontal plane pointing beneath the ride cymbal. A third mic, in this case an SE z5600 a II, is pointed towards the kick drum, exactly the same distance away from the snare as the two coles are away from each other. The below picture shows the view of the kit from behind the SE, you can see the two Coles microphones above the kit and to the left:
Glyn Johns would often use a mic under the snare as well, and we did for some tracks on the session but this one just didn’t need it, the snare was cutting through fine from just the three. We did have a room mic set up, and the tracks below demonstrate the sound of the kit on it’s own, the sound of the room mic, the sound of the reverb chamber, and how the latter two sound combined with the kit. No effects are used at all other than the EQ on our Soundtracs desk.