Like many other Tape Op readers, I have a home studio. Although I've had numerous opportunities to record in "real" recording studios, I often prefer the laid-back comfort of my own living room. My home setup has neither the carefully constructed walls nor the special acoustic treatments of a well- designed studio — but the no-cost, no-rush feeling of working in my own space and the comfortable amenities of my home (a fridge stocked with more than just cheap cans of beer, windows that let in sunlight, a back porch to sit on) have been compelling arguments to stay at home.
Over the years, my goal has been to make recordings in my home that approach the quality of recordings made in pro studios — and I've since discovered some techniques that can make my modest living room sound more like a big studio. For me, the sound of a "real" studio versus a home setup has more to do with the live sound than it does the cost of equipment: It's the interaction of the instruments with the room and how that interaction is captured on tape. With no other instrument is this more evident than with a drum kit.
A typical home recording of a drum kit sounds exactly like it was recorded at home — in a small room. On the other hand, a drum kit recorded in a pro studio will tend to sound bigger — with the ambience of a large tracking room giving life to the drums. This recipe is one way that I achieve that bigger drum sound in the confines of my humble home. Let's go through this recipe in steps.
Control the acoustics in your room.
Most rooms in a house are boxes with parallel walls, floors and ceilings. Parallel surfaces tend to accentuate some frequencies while attenuating others, and corners in which surfaces meet collect and release low end. To capture as smooth of a sound as possible, you want to reduce the detrimental effects of your room's square geometry. You can spend a lot of money on special treatments, or you can use what you've got lying around the house. Let's go the cheaper route and save the money for buying more mics.
Here's what I did in my living room. Equipment racks, large tape machines, and tall shelves are pushed into the corners. I found some surplus acoustic foam and placed it on one wall. I attached remnants of a shag rug on the opposite wall and covered the ugly rug with a curtain. A heavy cotton futon pushed against the wall with the largest unbroken span makes a great bass-trap, soaking up unwanted bass resonance.
Be careful not to over-treat your room. If you use too much foam or too many rugs, you'll end up with a room that sounds "dead". Higher frequencies will be absorbed while lower frequencies will run rampant, leaving you with the typical bedroom sound.
Experiment with the position of the drum kit.
I would recommend that you start with the kick drum facing a piece of furniture that operates as a bass-trap. Doing this will reduce the nasty lower- mid resonances that small rooms typically exhibit. These resonances contribute to the muddy sound of small rooms — anything you can do to reduce these resonances will make your room sound less like a box. I like to face the kit into my aforementioned futon "bass-trap". Play around with different floor surfaces. Don't just settle for what you have.
I used to use a shag rug (the remnants of which are now on the wall) as a drum rug. It was ugly, but it protected my wood floor from scratches and kept the drums from sliding everywhere. One day, I found a perfectly sized and not-as-ugly rug for sale at a local supermarket for $12. Unlike the shag rug, this one was tightly woven and quite stiff. It made a huge difference in the sound of the snare drum. The mics picked up much more of the snare's crack. If you're pining for an even "brighter" floor surface, try a localized treatment. A clipboard placed underneath the snare drum can really liven up the snare.
Start with a good pair of overhead mics.
Think of your overheads as more than just cymbal mics. While close mics tend to focus on the attack of each drum hit, carefully positioned overheads will pick up more of the "body" of each drum, affording you a fuller sound than what you could achieve with just close mics. My preference is to use two overhead mics to pick up a stereo image of the whole kit.
As a general rule of thumb, two mics recording the same sound source should be the exact same distance to that sound source when you're trying to achieve a phase-coherent, mono-compatible, stereo spread. Otherwise, you'll end up with phase cancellation of some frequencies. Recalling that the box shape of the typical home studio tends to accentuate some frequencies while attenuating others, any additional phase cancellation will further detriment the sound.
I prefer to set up my overhead mics in a modified X-Y pattern, with the diaphragms of the two mics as close together as possible. This way, everything they pick up will be phase-coherent: All sounds will hit both mics at the same time. Therefore, the pair of mics will not contribute additional peaks and dips to the frequency response of the room.
You can vary the relative amounts of drums versus cymbals by moving the pair of mics up and down or forward and backward, or by pointing the mics closer into the drums or further outward toward the cymbals. I usually start with the overheads about six feet off the ground, directly above the drums. Because the signal from the overheads will be the foundation of the drum sound,...