Drums reproduction

But in smaller clubs, they may not be amplified at all yet they still fill the room. I think our systems are also be at fault.

Good thread, Richardmr.

depends on the sound guy for the live shows just like the producer. New school mixers go for the big thump and overbaring bass while the old school guys leave the bass and drums as a solid bottom but not in the way of the soloists. The latter is by far my preference.

I think it has more to do with marketing and sales.

In order to reproduce drums close to live level, you need top notch equipment and a well-treated good size room. I don’t know how many of us have the amp and speakers that can reproduce that kind of dynamic. I know mine cannot. Also, most of the listening rooms have standing wave problem. If drums were recorded at live level, the bass from these recordings will overwhelm the room, triggering all kinds of resonance; causing heavy, unarticulated, one-node bass, and robbing most of the details of other instruments. I don’t think too many people will buy recordings sound like that.

So in order to make recordings sound good in average system, they got to tone down the drums.

So, do you mean producers purposely turn down the drums with the expectation that people's systems can't handle it? What about the symbols, intricate high-hat work, or the poor drummer that's doing a quieter piece? I believe he loses impact because of the poor volume level. Guitar work can be extrordinarily amplified. Sidssp - If what you say is true about bass overwhelming the room, how come it doesn't always happen live, like in an acoustic arrangement as Drubin says? The wierd thing as well is that this seems to be an across the board problem, regardless of music style. It's the pervasiveness of this that seems strange. You would think SOMEBODY would push the envelope a little bit.

Hi Richardmr,

Drums are one of the most difficult instruments to mike, record and reproduce either through a live sound system or home audio system.

Drums and cymbals are able to produce very high energy SPL waves. The nature of the wave is that there is an intense leading edge transient to the waveform coupled with a complex harmonic structure. These waves tend to reflect off of the room surfaces quite energetically. Close microphone technique is usually the norm and trying to capture natural reverberation without coloration requires tremendous skill. Most microphones overload with the initial transient and there are tradeoffs in the design of microphones that are robust enough to handle the task.

Additionally, the recording system has to cope with these trasients and waveforms - some accomplish this more successfully than others. Mixing the the drums "down" relieves the recording and playback system of stress.

I have been a professional drummer for over thirty years and have played with everything from hard rock, pop, folk, country, light jazz, ethnic and totally acoustic music ensembles. Depending on the choice of drums, drum heads, sticks, brushes and technique, a drummer can vary the intensity from barely a whisper to deafening levels. Microphones, mixing boards, recording sytems, amplification, speakers and producer's sensibilities can rarely keep up.

Best Regards,

Barry Kohan