Microphones and Snare Drums

I recently took delivery of a new PDP birch snare drum from a friend who has upgraded his kit. He now has something very new and very nice, a Chad Smith signature thing which — of course — I'm itching to hear but this means a whole new sound to my kit which I have been eager to record. The weekend gone gave me just such an opportunity when a young lady friend of mine and a guitarist/bassist friend wanted to cover the KT Tunstall song, Heal Over.

I saw an opportunity to hear my new snare so jumped at the chance to play kit for them and I have to say I'm ever more impressed with my ability to mic a snare drum. All I need now is the ability to mic the rest of the kit just as well and I'm laughing. My main problem right now is that the snare — which I need to be very sensitive — is activating in sympathy with the toms when I play them and the effect is very noticeable as I have miced the snare side of the drum to pick up that breathy sound which I like so much on Donald Fagen's "Brite Nitegown", courtesy of the outrageously talented Keith Carlock.

I know I'm never going to achieve such a standard but I have to say the new snare is a move in the right direction.

I'd like at some point to set up a website with recordings of this stuff to let people listen to and critique. I've searched mostly in vain for detailed hints and tips on mic placement and if I can get my ass into gear I'd love to put everything I've learned about this experience up onto the web for all to either learn from, build upon or criticise.

Suffice to say that Messrs Fagen and Carlock (and anyone else who puts genuine feel and passion into their productions) have a lot to teach but that, as with all music, it's there to hear and learn from if you choose to listen.

Here's to more and better mics and more time to put them to good use!