Different types of music use drums in different ways. For example, jazz and rock use drums in very different ways. It makes a big difference in how a song sounds, feels, and moves, and how you mic the drum kit. Rock and jazz have different beats, playing styles, and general moods, so they need different ways to be recorded. In this article, we’ll discuss how and why jazz and rock musicians mic their drums differently
The Philosophy of Genre: Subtlety vs. Power
Before getting into mic placement and gear, it’s important to know what each type of music is trying to say.
- Jazz is based on room, rhythm, and subtlety. To play with more skill than force, drummers often use brushes or smaller sticks. The drum kit blends better with the double bass and horns than with more energetic instruments like electric guitars
- Rock, on the other hand, is all about strength and hitting hard. Most of the time, the drums are in the middle of the song and give it its energy. A different mic setup is needed for harder hits, more active playing, and bigger stage sounds.
The Number of Microphones: Less or More
- Jazz: Less mics are often better. In a traditional jazz setting, two overheads and a kick mic might be all that’s needed. The kit should fit in with the room naturally. This simplicity catches the range of the drummer’s sound and the performance’s acoustic feel.
- Rock: On rock albums, close mics are often used on the kick drum, the top and bottom snare drums, the toms, the hi-hat, the overheads, and sometimes even the room mics. To support the genre’s out-of-this-world sound, this gives the artist more power in post-production.
Stereo Image vs. Cymbal Control for Overhead Miking
- Jazz: In jazz, the overheads do most of the work. They record the whole kit, not just the drums. In order to get a natural stereo picture, engineers often use spaced pair or XY setups with high-quality condenser mics. Placement is often higher and farther away to get a sound that is consistent across the whole kit.
- Rock: When it comes to rock, overheads are more often used to record cymbals than drums. The main work is done by close mics on the shells. Overheads could be lowered and centered more closely to cut down on bleed and bring out the genre’s bright, crashing tones.
Kick Drum: Power vs. Comfort
- Jazz: The kick drum, which is also sometimes called the bass drum, is played more slowly and with a heavy tone in jazz. To pick up the full-bodied natural sound, you could use a large-diaphragm condenser or even a ribbon mic outside the front head. Not having any padding inside is normal.
- Rock: For rock, the kick is all about punch and shape. Inside or right next to the hole of the resonant head is a dynamic mic, such as the Shure Beta 52A or the AKG D112. Pillows or blankets on the inside of the room can help control boominess and add that tight, focused “thump.”
Character vs. Crack on the Snare Drum
- Jazz: For jazz, the snare is played with light touches, rolls, and brushes, so the mic needs to be able to pick up small details. When placing a small diaphragm condenser or ribbon mic, it’s usually a bit farther away to get more of the drum’s tone.
- Rock: Rock snares need to cut through with crack and snap. The Shure SM57 is a classic go-to, typically placed close to the head for aggressive attack and punch. For a high-performing alternative, the 5 Core Snare Drum Microphone offers a dynamic build with a uni-directional pickup pattern, perfect for isolating the snare while minimizing bleed. A bottom mic is often added to capture snare wire detail and bring more balance to the sound.
Setting Up Room Mics: Energy vs. Ambience
- Jazz: Room mics are used in jazz to add natural sound and space, which helps make the recording feel like a live show. Most of the time, placement isn’t very obvious, and the room itself becomes part of the sound.
- Rock: When it comes to rock, room mics are used more roughly. With their farthest placement and heavy compression, they give the drum sound a raw, powerful energy that works well in big choruses or breaks.
Toms and Hi-Hats
- Jazz: Jazz engineers may not mic the toms and hi-hats separately, instead depending on the overheads to pick them up naturally.
- Rock: For fullness and effect, rock sets almost always have close mics on the toms and a separate mic for the hi-hat for clarity during busy patterns.
Approach to Mixing
- Jazz: In jazz, mixing the drums is usually kept simple and clear so that the natural balance is kept and the performance has room to breathe.
- Rock: EQ shaping, compression, and effects are often used in rock mixes to make drums hit harder and stay present in thick sounds.
Conclusion
In the end, there isn’t a single way to mic drums that works for everyone. The best method is the one that works best for the song. Even though jazz and rock use the same instruments, their sound goals are very different. Knowing these differences, from which mics to use to how to place them, will help you record drums that sound good in the mix.
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