How I Record_Part 4_Drums:

The greatest part of living and working in a creative world is the free flow of ideas. The affection and sacrifices for making a living down the rabbit hole of creativity is beyond explanation to the uninitiated.

Our natural element is the physical world our bodies live in. That “real-world" is our anchor to reason and provides us an envelope to push towards the outside of …that would be called innovation.
If money defines the difference between eccentric and crazy, then physics defines the difference between an innovative or stupid idea. Talent is the ability to understand the disparity.

Physics habitually places its heaviest elements on the bottom of a structure. We call the heavier object supporting a lighter one foundational. This is also true musically when it comes to a Kick Drum or Bass instrument.
When creating a building plan to develop a production schedule for turning an idea into a reality you’d generally start by assembling the foundational components of the project first. Before you started on any of its finish work. This too is true when recording a rhythm section.

It’s easy to tell how your session is going to flow by the first few minutes with the drummer. You can notice it while getting drum levels.
After you’ve established basic levels for the Kick, Snare and Hat ask the drummer to give you some straight time using only the K-S-H. (it's good for base line overhead levels)
If the drummer is rock steady in time as well as consistent in how hard, and where, they hit the drum you can be reasonability certain of a solid rhythm section session. If the drummer is all over the place in time, intensity and they start playing every piece of hardware around them creating a big jangly mess on only three open microphones: good luck. You are going to have your work cut out for you.

Next up: Drum Mics

 

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