Drums in the Studio - part 2 (part 1 here)
performance advice and recording tips
- by PDG

What are the most common mistakes you see an emerging drummer make besides the ones we’ve mentioned? What other advice would you give a drummer who's wondering what the secrets of the pros are?
B: Overplaying, speeding up and lack of dynamics are the big performance problems of inexperience. Lack of consistency of volume within sections, and not thinking about where on the drum the stick is landing are the big technical problems. Thinking about, and playing for the song seems to be learned the hard way.
R: I think the most common mistake is not listening. Your playing can sound different once it’s under the microscope of a recording session. Parts you thought worked well may now seem to clash with the arrangement of the song. Be flexible and open to suggestions. Learning to play with a metronome can also be helpful.
Z: Most emerging drummers can't play with a click track, and/or don't listen to the 'song' - the lyrics, the changes, etc. My only advice is to listen. Listen, listen, listen. Listen to great drummers playing on great songs, and take a step back. See the whole picture; the SONG, not the parts.

Editing can fix a lot of mistakes, but what's the limit of it?
P: Editing to fix a few mistakes in a good drum take can be a necessary part of recording. I think relying on editing for good takes can be dangerous.
B: But when you over-fix, it almost seems to take on a kind of 'sound' that's very Pro-Tools.
Z: Its sad to say, but there aren't many limits to fixing mistakes these days...with Pro-Tools you can edit for days, replace bad drum sounds, even try to shuffle bad drums into time, or just straight up 'reprogram' the drums, by replacing the drums 'with themselves'.

Does rock music need "swing"? Do listeners realize if a song “swings”? Can editing preserve this human element?
P: Rhythm, melody and pitch are important aspects of all music. When these things work together in a song that’s what people respond to, even if they don’t realize it. Over-editing a drum take can make it sound worse than one that’s a little sloppy.
Z: Rock music generally does not "swing", in the traditional sense of the word. Sure, there is a certain 'pocket' that good drummers play with, and I think some people are aware of that kind of stuff, but most probably aren't.
B: Rock doesn't have to swing; it depends on the song. If swing is part of a song's chemistry, people might not know it intellectually; they'll just move around more. Some people are very tuned in to 'feel' and swing issues when they edit drums.

When you hear older recordings, even by amazing bands (The Beatles, for example), you realize there are often small timing issues, but this didn't prevent the bands from selling a lot of albums. Does today's maniacal attention to the drums’ details and their timing make any difference in the actual quality of the music?
Z: Being maniacal about drum sounds and timing makes absolutely no difference in the quality of music. In fact, it’s pretty obvious that it’s the opposite. It’s insecurity. Someone who spends 5 hours in the mirror getting ready isn't doing it because they’re perfect and they want to make themselves better. It’s kind of a 'cover up', I think. Divert attention elsewhere, and make an attempt to tap into some systematic, perfect rhythm machine that 'perhaps' ties in more with your pulse or heartbeat and makes you feel good. Maybe perfect drums will hypnotize you, and you'll go out and buy more Creed records, I don't know. I couldn’t care less. Is the song good? - done. Really, that’s what it comes down to, so let’s just call it what it is…but that’s a whole separate story, sorry.
B: I do think that some commercial rock would be exactly as successful with less editing of the rhythmic timing, or without the copying and pasting of sections.
P: I think over-attention to any one detail can be destructive. The drums should work in the context of the song, that’s all that matters. I doubt those older, amazing bands spent days obsessing over drum takes. Also, it’s hard to ruin a great song, even with sloppy playing.

It seems like there are 2 schools of thought about recording drums: the minimal “3-4 mics” approach, and the "mic-every-single-drum" one. Which do you belong to?
B: The minimal mic approach is only good with light, low-density music. The more instruments you add, or the thicker the sounds of the instruments, the more control you need of the drum sound, and the less you want to be stuck with the limited options of just a few mics.
Z: I belong to both camps at once. I'm all about options. Songs change so much in the process, the last thing I want to hear is, "Oh man, we should've mic’d the toms! Dammit!" So I tend to mic a lot of stuff, and then, just don't use it. That’s another production technique that I think gets neglected a lot these days. Just don't use it! That way you can be flexible, and get a tight drum sound in the mix, or a big one.
P: I would say somewhere in between, depending on the musical style and equipment available.

What's the importance of the room?
P: The drums can only sound as good on tape as they do in the room.
B: A big room is important if you don't want to automatically have to use reverb. In a small room, the 'boxiness' of the room can come through even on the close mics.
Z: I'm a huge fan of roomy drums. Bonham just got me, so I love it and always record it, and try to use it. It’s just one of my things. It also is a staple in my drum school of thought. Drums are just ONE instrument. People forget that all the time, and we get all caught up with snare, kick, tom 1, tom 2, HH, blah, blah, blah. It’s ONE instrument, just like guitar or bass. And recording with room mics helps present it that way.

How do you normally place mics to capture the sound of a room?
B: Usually 2 mics at opposite ends of the room. For slow tempo - up to 45 ft. from the kit. For fast tempo - 15 or 20 ft.
P: Usually a pair as far away as possible, then some ambient mics lower to the floor and closer to the kit.
Z: Ha, my room mic placement changes all the time! It’s an ongoing experiment. Usually kinda far away, or facing away from the drums. Kind of like a "wall mic", if you will, but it’s a revolving cast of characters, some which will remain secret! (kidding)

You have 50 words to review a tool that you find extremely helpful when recording/mixing drums.
P: Patience. Take the time to get it right during the recording. Get the right drum tones, mic placement and performances while you can. Rushing for the sake of perceived progress will seem like a waste later on. Especially if you’re sitting on the couch while someone is editing and replacing your drum sounds. Ugh.
Z: One tool that I find extremely useful is a box called the “Transient Designer”, made by SPL. It allows you to add or take away attack or decay on audio. It’s great; it helps get out 'clacky'- sounding midrange build-up in snare drums, or tighten kicks up. It can also do what I call "juice- up" sounds by pumping up flat sounds by raising both attack and decay.

The Producers we interviewed

Martin Bisi Started in the early 80's working mainly with avant-guard and hip hop artists. He later moved into indie and hard rock. He specializes in size and aggression. He worked with Sonic Youth, Swans, Dresden Dolls, Material.

Chris Ribando is an independent producer/engineer from New York City. He has worked with Diamond nights, The Fever, The Black Crowes, and Cadillac.

Chris Zane is an up and coming NYC Producer who has worked with Calla, Les Savy Fav, Inouk, Ambulance LTD and Asobi Seksu.

"The minimal mic approach is only good with light, low-density music. The more instruments you add, or the thicker the sounds of the instruments, the more control you need of the drum sound, and the less you want to be stuck with the limited options of just a few mics."

EQUIPMENT GOOD ON DRUMS We asked producer extraordinaire Joel Hamilaton (Elvis Costello, Tom Waits, Unsane, The Giraffes, Sparklehorse, Frank Black) to review some of his favorite gear for mixing drums.

1. Neve 33609 compressor/limiter. When I am mixing, I like the sounds to really engage the listener, and flatter the performance. When you are in a room with drums, they are LOUD! I give the illusion of loud with the use of dynamics enhancing devices almost all the time. The Neve 33609, the original one, with metal knobs... probably my favorite compressor ever made, helps me get the explosive sound of the drums to the listener, with an appropriate "fit" in the mix as well. This device would be my desert island compressor for making a record. I have a ton of choices in my mix room here at Studio G Brooklyn, as I have been collecting for some time, and so has my partner, Tony Maimone. All of these devices are chosen to bring music forward, and make it larger than life in the end result. The 33609 is just one of those devices that can go from really, really aggressive to fairly transparent and everywhere in between, in the right hands. This is a vintage piece, and it is not cheap. Expect to pay between $3000- $4000 USD for a good one. They have been re-issued a few times, but never with quite the "bang" that the original has. With just this compressor used across an entire drum group, you could make a very good sounding mix.

2. Collins 26-1U compressor. A giant in the rack, based around the revered 6386 "vari-mu" tube no longer in production, this big old tube compressor by Collins is one of the finest for kick drum. Nothing "seeks out" the right kind of beater attack like this crazy old bruiser. This compressor is also very vintage, made in the 50's. Also not very cheap, but prices vary insanely on these things. Expect to find one on ebay for around $1200 USD, but deals can be found, even in this day an age. Many of these were found in old radio stations, or new radio stations old gear closets or basement. They were used in broadcast, and Collins made many broadcast devices. This one just seems to have the right time constants (attack/release) for kick drum. Big transformers, lots of tubes, a giant VU meter, big knobs...all the marks of a cool, fun piece of gear that is fun to use and sounds GREAT. When I am mixing, I use this compressor to give me a consistent kick drum sound across the whole song without sounding too "squished." Amazing that this compressor will do that. I can be really headlocking the kick into place, and it never sounds too "compressor-y." No EQ, just this compressor usually. If you are into great sounds, this compressor will do the vintage "ringo" type pumping on the drums, or it will get very "modern rock" for you as well. That's how it justifies its enormous size in the rack, it is by no means a one trick pony. This compressor is awesome for just about anything you throw at it.