Old Lyme, CT (September 8, 2023)—Neumann has published three new Neumann Home Studio Academy video tutorials aimed at both recording novices and advanced users, focusing on drum recording techniques.
The Recording Drums episodes—each shot in a single take with no edits—adjoin Neumann tutorials already published on YouTube. According to the manufacturer, the videos “authentically document the sound qualities of the Neumann microphones used,” and avoid any use of EQ.
Part 1: Classic Three-Mic Technique addresses the stereo recording method developed by legendary producer and engineer Glyn Johns in the 1960s. Just like back then, Neumann U 67 tube microphones are used. The video tutorial demonstrates that results can also be achieved using three significantly less expensive Neumann TLM 102 large-diaphragm microphones.
Part 2: From Mono to Stereo investigates recording with a single microphone, not to capture the highly polished drum sound of modern pop productions, but rather the pure energy of a natural drum kit. The Neumann KU 100 dummy head makes a cameo appearance in this video, providing a three-dimensional impression of the sound on location.
The first step, the tutorial explains, is to find the optimal position for a mono microphone—in this case a Neumann TLM 102. If stereo recording is required instead of mono, the same location works as well for pair of microphones.
In the video, two Neumann KM 184 small-diaphragm condenser microphones are positioned in an XY arrangement. The XY technique (“intensity stereophony”) works exclusively with level differences and, when used correctly, are expected to produce a natural-sounding stereo image with localization and full mono-compatibility. As an interesting alternative to setting up the XY arrangement in front of the drum kit, the microphones can be positioned behind the kit to capture the sound from the drummer’s perspective.
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Part 3: Multi-Microphone Setup features two overhead microphones as the basis, supplemented step-by-step with close-up microphones to realize a modern drum sound. Again, two KM 184 small-diaphragm microphones are used as overheads.
The video shows that instead of an XY setup, an AB constellation (time-of-arrival difference instead of level difference) can also be useful. A Neumann KMS 105 captures the snare while suppressing the hi-hat due to its supercardioid pickup pattern. A Neumann TLM 102 delivers the kick drum’s natural sound, with a pronounced low-end. On the toms, the hypercardioid pattern of the three Neumann KM 185s offer separation. A Neumann KM 184 is positioned near the hi-hat. A pair of Neumann TLM 102 room mics are suggested if the room has welcome acoustics.
