Super-engineer Ross Hogarth was just here doing an excellent recording session with legendary drummer Kenny Aronoff, vocalist/guitarist Lukas Rossi (from CBS’s Rockstar SuperNova), and bassist German Briseno. (You can see video from the session at our Facebook page.)
- In addition to the “standard” wide-spread stereo pair of Mojave Audio MA-200 condenser mics overhead, a Royer SF-24 stereo ribbon mic was placed directly over Aronoff.
- Two Mojave MA-200 mics were placed at very wide left/right extremes, about chest height, 10 feet in front of the drums.
- Two Royer Labs R-122 mics were placed very high in the room, in two opposite corners.
- A Royer R-122 was centered in front of the drums, at chest height, about 10 feet back.
- A stereo Royer SF-24 was aligned directly above the R-122 centered in front of the drums.
The amazing thing? When Ross soloed anyone of these “extra” mics, the overall drum kit sound was phenomenal — nearly good enough to stand as the drum track on its own. Then, when the various “extra” mics were combined with the close mics (an array of Royer R-121, R122, and R-122V ribbons and Mojave Audio MA-201 fet, MA-100, and MA-101 fet condensers), the drums simply exploded with huge, natural, dynamic sound.
The key to making all this work? Very careful control of the phase relationships between all the mics.