What I do is put a ''room reverb'' on my Room track and then eq & compress it. Basically treating it as if the room reverb track was already on the recording. Works great for me

And the Oscar for best instructionvideo in audiorecording goes to... Your approach using the room and make it work with you instead of the usual way of using absorbtion and dampening, and close-mic'ing everything is very inspiring. Thank you! I really love your videos- You make it sound so easy to make amazing recordings.

Love your channel, man! I've studied audio engineering but I'm starting to realize that our teachers were pretty close minded. Four channels suddenly seems like all I need.

I belive Steve Albini delays his room mics. Thats the In Utero sound. I've never used a 57 as a room mic though. I'll give it a try on my next session. I liked what it did to the snare on this demo.

Great tips! For my space, my all time favorite setup is a ribbon mic on axis about 10' away on track A Boundary zone mic behind the drums track B 1. Send both hard panned to a parallel room bus and level match. 2. Squash the ever living snot out of it. 3. Add a phaser at 2x bpm (60/bmp use the decimal as your milliseconds x2) 4. Fold back the room bus to taste Gives a beefy sound and has a tiny bit of Zeppelin phase in there during solos/fills.

Thanks Ryan. This is a great video which has stirred my laziness from just slapping up some room mics. Most of us are recording drums in small rooms and really should take a few extra minutes on room/mic placement and some subtle DAW treatment. Thanks ...

I usually add reverb to the room mic to add space. Makes sometimes more sense than adding longer reverb to the close mic tracks.

I do use them and layer them, based on the kind of song I’m mixing. I find them very effective. I do use them also with other instruments rather than drumkits

Great show! Thanks!

Great tips! I actually never thought to put a delay on room mics to make the room seem larger. I might have to give that a shot.

6: You can also use transient desingers ;)

Really great tips all around! Appreciate really utilizing a 57 for a ton of mileage for very cheap thanks brother

man, your videos are so helpful! Thank you for your work!

Awesome stuff. Thanks

I've been building a good room to track drums so i'm definitely going to try some of these out! I'm using a version of arqen diffuser as well which has helped tidy up the sound a lot. Thanks for the tips again.

Great lesson, great video, wonderfull technics! Thank U!

Effective and awesome techniques! Thank you.

Great stuff man! I'm actually working at making my room sound bigger. So this vid hits home. I get a decent room sound, but I'm building baffles (bogo's) to help with my 90 degree angled room. I'll experiment with everything you just showed us. Thanks for the work you do!

very good room techs ilustration Ryan, thank you.

Sounds really good and professional!

Really nice tips! Thank you!

Interesting to see a dynamic as a room mic! Cool man

Wow that was really cool.

Method N°6: Mid/side aka Blumlein. Requires a mic with a cardioid pattern and another mic with a figure of eight pattern. The cardioid mic is pointed at the kit, the other is placed in a 90° angle towards the kit directly over the first mic. On the console / in your DAW, the figurer of eight mic is routed to two channels, which are hard panned in opposing directions, one of the channels has polarity switched (gets thrown out of phase). On their own, this will sound terrible, but bring in the cardioid mono mic and see the magic happen.

Nice video!

Great ideas!!…...I want to try the blocked method with a piece of ply wood. Experiment with putting the mic(57?) right up against the board with just the tiniest bit a space left..ie: pzm mic ;-) Maybe putting a mixing bowl in front of it, metal or glass, different sounds ;-) I've had mixed results with pointing the null of the mic at the kit. The room I have to work with right now does not sound so good, and that technique only amplifies how poor it sounds. In other rooms it works great.

Great video, great info! Love the look of those drums!!

Great video. I also think your videos have come a long way!

Love your stuff

Awesome

Great stuff! Thanks!

Really cool ideas!

Albini method: Place omni mics on the floor for room mics. Delay each one by a different amount.

Ultimate studios inc. use 57 directly at a wall surface a credit card distance away.

I actually usually have to tighten my drum sound up as much as possible, since there's always a lot of room in the overheads, but I have taken the close mics and overheads and duplicated them, then put the duplicates all through aggressive high and low pass filters (everything below 400 and above ~3.5K) and render it all down to one mono track. I then run that mono track through heavy compression and then either a distortion plug-in or re-amp through a dirty guitar amp. If I don't do the re-amping, then I also pull it back a few ms, but if I do, it usually ends up getting there on its own because of going out through the amp and then being picked up by a mic that is placed a few feet away. I might also use the reverb on the amp or a stereo reverb in the box. I find that I have to be very careful about this, as it can result in some phase-cancellation if the "room mic" track sounds too similar to the rest of the mix, but with enough high/low-pass and compression and dirt, it can be pulled off without problems. I suppose the same is generally true of actual room mics too, and obviously the overheads and close-mics can get in each other's way as well, but there are ways around that of course. The room mic techniques you showed here, though, I have actually used on lead guitar, AND backing vocals, especially where you have a bunch of voices singing "whoa oh whoa" or humming or "ahh" sounds or similar. I think I have even used the "null" technique with a ribbon mic on a lead vocal. I've used both that AND a blocking piece of furniture at the same time for an acoustic "singer-songwriter" type who was playing and singing at the same time. THAT comes out sounding HUGE. You have a mic on her guitar and another up close to her face, then a cubicle-divider at the door of the room with a LDC on the other side, pointed toward the stairs. It's a great technique to capture and dramatically advance the sort of humble majesty of a single person sitting in a room and belting out some honest, heartfelt *PAIN* over the accompaniment of an old acoustic guitar.

I often combine method 2, 3, 4, and 5 at once ! :P

Nice video Bryan! Will be recording some garage rock stuff Ill make sure to try those technics to get that trashy drum sound. 👌👌👌 Keep the good work Bro!

Awesome video! I had been using ORTF facing away from the kit, as that angle gave me maximum distance to reflective surfaces, but am about to experiment with trying MS in combination with various delay settings + compression. Possibly with a barrier. Seems like an easier setup with more flexibility. Any thoughts, anyone?

Hey Ryan, thanks so much for this video. I am constantly looking for ways to make my rather small room sound bigger. Haven't tried the delay and the shelving trick yet. So thanks for the input! That's a gorgeous sounding kit you got there.. 60's Ludwig in Blue Oyster? - hard to tell.

Awesome video I always learn something in your videos! have you always used logic? I would love to see some more production based videos in the future ... anyway your awesome thanks!

Hey Ryan! Great Video! :) Have you ever tried „the wurst“ mic technique by Moses Schneider? He Is a German engeneer wich worked with depeche mode and Other greats. It’s a Room mic kind of thing, But in the middle of the drum Kit. I tried it in my last Session and it helped the drum Sound Come alive much more than anything ive ever tried. Would love to Hear your thoughts on that :) Thanks! :)

Do you think you'd get a similar result with other active ribbon mics of a similar build, or is the AEA N22 just that awesome? Basically, is there a more affordable microphone that can provide a similar result? Thanks!

I like the blocked bass but the null was more true.. I guess you'd want to highpass out the kick cancelations

Really Cool!

Hey Ryan! Great vid! It's been some time since I last tuned your channel and noticed you migrated to Logic. I recently moved to Logic as well and after about six months I'm pretty happy mixing but having some hard times while editing. I come from PT. How is it going for you? Thanks. Sorry for the offtopic

hi what kick drum mic were you using?

Hey Ryan, have you tried using a mic with a figure 8 pickup pattern? Aiming it "away" from the kit(towards the walls)? or would you be better off with setting it to cardioid and nulling it?

I've missed you man! 😁

Hey Ryan! How big is your room? Sounds really good.

Great video !What cam do you use?Sharp and vivid colors!

Great stuff, thanks once again, Ryan! I've got a question though. Everyone seems to care so much about making the room sound as big as possible when in reality not every song may really need this. Do you still recommend to achieve the big sound no matter what and then blend it to taste or placing the make closer is more sensible?

I've been think about trying method 2 with a kick Mic. I have an akg d112 I could use but I'm out of preamps. Currently I bus all my mics to another track and fake it with some reverb plugins and compression. It sounds decent enough, but it's not perfect.

Is it possible to download the stems?

hey Ryan, thanks for your hard work ...when did you switch to logic X ? did you like it better than Reaper?

Where do you guys pan your room mic? about center?

This guy just seems like an absolute dude ! Please can i be your friend !

I've heard that Bonham's room sound on 'When The Levee Breaks' was a miked up stairwell and a bit of tape delay mixed with the close mics. Also, if you block that room mic and then compress it, wouldn't that mitigate the cymbal wash issue?

man Ryan smoked so much weed it started growing out of his head