This generally involves using gates on the individual drum tracks so that only the intended drum is heard via a track’s channel, and so that any EQ and other effects applied to the channel only impact the intended drum. However, no matter how careful you are with your close mic positioning, there will always be significant spill between the individual drum mics, which is where the next challenge comes in, namely mixing all of those mic signals. In any event, such approaches limit flexibility at mixdown time, hence why we normally surround the kit with microphones, capturing individual drums up-close along with various stereo pairs that capture the entire kit. There are techniques for using just two or three mics, but these rely on excellent live-room acoustics and spending an awful lot of time honing the position of those mics prior to recording. ![]() ![]() The most fundamental part of the challenge lies in how to mic-up such a large and complex – not to mention loud – sound source.
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