How To Record Drums With 2 Mics: Recorderman

Story time:

This method was created in 2003 in a session for the band “Hazy Malaze." The engineer, Eric Greedy, pitched an idea to producer, Eric “Mixerman” Sarafin, that he wanted to try. This technique involved 4 microphones: 2 overheads, a snare mic and a bass drum mic. The trick of this technique is that the overheads are equidistant from both the snare and the bass drum. The logic behind this approach was that if the overheads were equidistant from both the snare and the kick, they would appear dead-center in the mix. So, since Eric Sarafin was “Mixerman”, Eric Greedy became “Recorderman." 

Since the basis for this technique is the stereo overhead microphone placements, it can be used with 2 mics. And so, we are including it in this section, but just focusing on the stereo overheads. The results will not be the same as the “Hazy Malaze” record, but it has an interesting approach. 

If you want the story from Eric Sarafin himself, you can check it out here:

In the original session, 2 Coles 4038 Ribbon Microphones were used as room mics. But you can use condensers, they should work just fine. Eric Sarafin has praised how balanced Dan Fadel, the drummer, was. Balanced drumming is the key.

Now, to the technique:

The mics have to be equidistant from the snare and the bass drum. 

1. Position the first mic about two drumsticks in height directly above the kit and pointed straight down at the snare.
2. Position the second mic—which also has to be about two drumsticks from the snare—over the ride cymbal side, on the drummer’s shoulder, and also pointed at the snare. 
3. Next, measure the distance of the two mics from both the bass drum and the snare drum. Both mics should be equidistant from the snare and the bass drum, in order to avoid phase issues. Tricky, but it’s key. 
4. To make sure both mics are equidistant from the bass drum and the snare, it’s easier to use a mic cable or a long string. 
1. Hold the cable end against the bass drum where the beater makes contact with the head. 
2. Pinch the cable at the length where it makes contact with the first mic. While holding this position, pinch the other end of the cable at the length it makes contact with the center of the top head of the snare drum.
3. At this point the string or mic cable should be in a sort of triangle shape. Move the top point of the triangle – the part you have pinched – to each mic to verify they are both of equal distance from the bass drum and snare.

Front view.

Side view.
The Mic on the right tends to be
a little further back than the right.

Got it? Great, now we’re ready to record. 

Pros to this technique:

• If you get the measurements correctly (equidistant) you’ll find that the snare and bass drum are dead center. So, a lot of mono compatibility. 
• A very clear sound approach, with little ambience. If you’re looking for a focused sound, it’s a great approach. 
• Even though it sounds like a lot of work to set it up, once you nail it, it’s fairly simple to set up and get going. 
• Adjusts very well to small room situations—because it was developed in a small room! 

Cons:

• By itself, the 2-mic setup will not give you a very clear and potent bass drum. This is to be expected, these 2 mics are not pointing at the bass drum’s front or inside. That’s why Eric Sarafin is very adamant that this technique also uses bass drum and snare mics. 
• Like the previous point, even though you’ll get a clearer snare (because of the mics aiming at it), you won’t get a lot of articulation from it. You will get it as part of a whole, but if you need more snare wires and brightness, you’ll want a snare mic. 
• It’s easier to get phase problems. With so much measuring happening, you’ll have to be very thorough and keep your ears open.