Drums reproduction

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

Virtually all instruments are purposely turned down because the recording chain and home playback systems cannot handle the dynamics. Your system can't handle a grand piano, operatic vocalist, trumpet, drum set or a stack of Marshall amplifiers. My system can't handle them either. To Drubin's point, filling the room with sound is very different than dominating the room which seems to be Richardmr's observation. You can actually fill a room with sound at fairly low volumes. My experience with both live and recorded music is that it's rarely appropriate for the drums to dominate the sound mix. Also, if properly recorded and your system is of high enough quality and well set up, then there shouldn't be a substantial lose of the music's impact at lower volumes. Obviously, this last statement doesn't apply to music that is solely intended to be listened to at LOUD LOUD volumes.

Onhwy61 - I've used Cobham, etc. as extreme examples of drummers who "lead" their bands. But, as is the case with someone like Elvin Jones, with Coltrane and McCoy Tyner in the band at one time, Elvin was not the "lead" player. But he was dominant nonetheless. And I don't mean just during solos. I just think percussion domination has not translated to recordings like other instruments. Do you notice the loss of visceral impact on recorded drums compared to live? I don't lose it on other instruments the same way. Please don't confuse my wanting all percussion to sound like MegaDeath or the like. I would like it to be more sonically equitable. Then we will approach "live."

Do you have any suggestions for "best" drum sound on cd?

Jim