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声学鼓的录制
For My Teacher,For My Friends,And For My Love...
Recording Acoustic Drums
声学鼓的录制
By Jay Graydon | September 2006 译：Margindge
If you’re looking for a “one size fits all” solution to recording acoustic drums, forget it! When it comes to miking and EQing drums or anything else, every recording engineer has different opinions and techniques. While that may seem chaotic, it’s also liberating: Never be afraid to experiment in your quest for the ultimate sound, as there are no rules . . . and if there actually are, maybe you’ll discover some new ones.
如果你想找到一种通用的录声学鼓的办法，还是放弃这个念头吧！当提到鼓的拾音和频率均衡或者其他什么，每个录音师都有不同的见解和手法。虽然有些摸不着头脑，但也确实是个解脱：不要害怕在你寻找心中最终的声音的过程中不断摸索实践，因为根本没有一个规范……如果你发现确实有，可能你已经发现了一些新的东西。
BUT FIRST, SOME PROBLEMS
首先，说明一些问题
Recording acoustic drums defines the meaning of “give and take.” A common technique is miking each drum, so all the mics will pick up leakage from each drum/cymbal but with a slight time delay. This delay can cause “comb filtering” (phase cancellation and addition), which alters the miked signal’s tone. The less leakage the better, but it’s impractical to baffle other drums and cymbals within the set. A work-around to cut down on leakage is to use fewer mics, and try to capture the set with a couple mics on the set itself, and maybe some room mics.
声学鼓的录制很好的解释了“互相迁就，相辅相成”的含义。通常的手段是分别录每一个鼓，所以所有的MIC都会拾到其他各个鼓和镲的带着轻微延迟的串音。这些延迟会造成“梳状滤波效应”（相位的抵消和叠加），这会改变拾取信号的音质。虽然串音越少越好，但是要阻挡其他鼓或者镲的声音到拾音范围内是不切实际的。一个减少串音的较好的办法是使用较少的MIC，和尝试把一对MIC放在鼓组上方来捕获它们的声音，或者用一些Room Mics（房间麦克）。
Another problem is that the drum head tuning will likely change over a relatively short period of time, due to the constant hitting of the drums as well as temperature changes within the studio environment. Keep lighting and air conditioning consistent, as they’re the main causes of temperature variations. Remember to check tom and snare tuning throughout the session.
另一个问题是，由于对鼓持续的击打以及录音环境内的温度变化，鼓皮的音高将很可能在一个相对短的时间周期后改变。采光和通风作为温度变化的主要因素，要保持调节的一致。
Also note miking the full set leads to lots of mics, booms, and cables running around your studio. This multiplies the chances of an accident, like the mic stand falling over and killing your oh-so-expensive vintage tube mic. We’ll address this topic as well.
另外需要注意的是，在录制整个鼓组的时候会用到许多麦克，麦架，和线材，让你在录音棚里跑来跑去。这样就会增加事故发生的概率，比如碰倒麦架导致你非常昂贵的经典电子管麦克损坏。我们倒不如也作为一个话题谈谈。
ISOLATION AND AVOIDING REFLECTIONS
隔音和消除反射
Isolate the mics from the floor as much as possible so that they don’t pick up any rumbling noises. If your studio was not built with a floating floor (a second foundation over the first supported by rubber and styrofoam, as used in most pro studios; see Figure 1), a drum riser will help isolate the mics. Even if the studio has a floating floor, a drum riser may still be helpful. (When constructing a drum riser, make sure that it is solid and includes some type of rubber on the bottom of all surfaces that rest on the floor. Cover the platform with rugged, indoor/outdoor carpet.)
为了不拾到任何隆隆的噪音，要尽可能的把麦克和地板隔离。如果你的录音间不是建立在浮动地板上（第二基架是在首先被橡胶和泡沫支撑之上的，这办法同样用在很多专业工作室，见图1），鼓台（中空的台子用于抬高鼓组）也可以对隔离麦克有帮助。即使录音棚有浮动地板，鼓台也依然会有帮助。（在制作鼓台的时候，要确认它是坚固并且在和地板接触的所有底部的表面都有一些橡胶之类的填充。平台的表面要覆盖着粗糙的户内用或户外使用的地毯。）
If the drums will be set up on the floor itself, a carpeted floor cuts down on reflections; a hardwood floor will allow sound waves to bounce back up into the drums, possibly causing phase cancellations. Consider a floor tom mounted in a standard vertical orientation: With a hardwood floor, when the player hits the drum the bottom head vibrates sympathetically. This directs a waveform toward the floor, which bounces back up and interacts with the vibrating bottom head to cancel or emphasize certain frequencies.
如果鼓架在地板上，铺着地毯的的地板会阻止反射声；硬木地板会让声波向上反射回鼓组中，从而很可能引起相位消除现象。考虑到落地桶鼓是在标准垂直方向上：如用木地板，当鼓手击鼓，下面的鼓皮也要跟随着震动。这个直接向着地板去的声波将被反弹上来并且会对底面鼓皮的震动造成相消或加重某些频率的影响。
To minimize this problem, angle the floor tom slightly by lowering the triangular height rod (the one nearest the drummer) to taste; see Figure 2. This causes the waves to scatter somewhat.
为了解决这个问题，我们可以通过按习惯降低三角支架（靠近鼓手的一个）使落地桶鼓和地板形成轻微的角度；见图2，这会让声波反射稍微分散。
MIC CONSIDERATIONS
麦克的讨论
If the drums will be hit medium to hard, you’ll usually want to enable the mic’s built-in attenuation (“pad”) switch. This helps minimize the chance of distortion.
如果鼓被越来越有力度的击打，我们经常会希望把麦克内置的衰减开关打开，这样会帮助减少失真的机会。
Some condenser mics offer pattern choices. With an omni response, the mic hears everything — the front and back as well as on the sides. The figure 8 response allows the front and back of the diaphragm to be active but not the sides. Cardioid is directional on one side only, and is typically used for drums. Other patterns include “super cardioid” (very directional), which may be useful if you want to tighten up the sonic picture.
一些电容麦克提供模式选择。在全指向，麦克可以拾到前后左右所有声音。8字指向只能拾到振膜前后方的声音，而左右的不行。心形是单一的指向一个方向，非常适合用来录鼓。别的指向型包括“超心型”（超指向），假如你想缩紧声场可能会用得着。
Note that all of the following mic placement positions are my starting positions. When listening to the mics to dial in the sound, always move the mic around a bit to find the best sound.
需要注意的是，以下提到的所有麦克的摆位都是指起始位置。当一边听一边推高麦克的音量，总是要在很小的范围内移动麦克以得到最好的声音。
Regarding mics, there are so many, and the landscape has changed so much in the past few years with the advent of budget mics, that we won’t even attempt to recommend possible mics; I’ll just mention a few personal favorites and deal in generalities. One strategy for getting pointers on mics is reading interviews with producers and engineers whose work you admire, as they will often mention which mics they use for specific applications.
关于麦克的选择，总是有太多，而且随着几年后廉价麦克的出现，行情也会随之改变，所以我们也不做推荐合适的麦克的努力；我只会大概的说一些个人的喜好。另一个得到要点的途径是看你喜欢的工程师或制作人的专访，他们会经常提及哪些麦克是他们自己用来特殊运用的。
[ 本帖最后由 margindge 于 07-2-21 19:10 编辑 ]
Recording Acoustic Drums
声学鼓的录制
By Jay Graydon | September 2006 译：Margindge
If you’re looking for a “one size fits all” solution to recording acoustic drums, forget it! When it comes to miking and EQing drums or anything else, every recording engineer has different opinions and techniques. While that may seem chaotic, it’s also liberating: Never be afraid to experiment in your quest for the ultimate sound, as there are no rules . . . and if there actually are, maybe you’ll discover some new ones.
如果你想找到一种通用的录声学鼓的办法，还是放弃这个念头吧！当提到鼓的拾音和频率均衡或者其他什么，每个录音师都有不同的见解和手法。虽然有些摸不着头脑，但也确实是个解脱：不要害怕在你寻找心中最终的声音的过程中不断摸索实践，因为根本没有一个规范……如果你发现确实有，可能你已经发现了一些新的东西。
BUT FIRST, SOME PROBLEMS
首先，说明一些问题
Recording acoustic drums defines the meaning of “give and take.” A common technique is miking each drum, so all the mics will pick up leakage from each drum/cymbal but with a slight time delay. This delay can cause “comb filtering” (phase cancellation and addition), which alters the miked signal’s tone. The less leakage the better, but it’s impractical to baffle other drums and cymbals within the set. A work-around to cut down on leakage is to use fewer mics, and try to capture the set with a couple mics on the set itself, and maybe some room mics.
声学鼓的录制很好的解释了“互相迁就，相辅相成”的含义。通常的手段是分别录每一个鼓，所以所有的MIC都会拾到其他各个鼓和镲的带着轻微延迟的串音。这些延迟会造成“梳状滤波效应”（相位的抵消和叠加），这会改变拾取信号的音质。虽然串音越少越好，但是要阻挡其他鼓或者镲的声音到拾音范围内是不切实际的。一个减少串音的较好的办法是使用较少的MIC，和尝试把一对MIC放在鼓组上方来捕获它们的声音，或者用一些Room Mics（房间麦克）。
Another problem is that the drum head tuning will likely change over a relatively short period of time, due to the constant hitting of the drums as well as temperature changes within the studio environment. Keep lighting and air conditioning consistent, as they’re the main causes of temperature variations. Remember to check tom and snare tuning throughout the session.
另一个问题是，由于对鼓持续的击打以及录音环境内的温度变化，鼓皮的音高将很可能在一个相对短的时间周期后改变。采光和通风作为温度变化的主要因素，要保持调节的一致。
Also note miking the full set leads to lots of mics, booms, and cables running around your studio. This multiplies the chances of an accident, like the mic stand falling over and killing your oh-so-expensive vintage tube mic. We’ll address this topic as well.
另外需要注意的是，在录制整个鼓组的时候会用到许多麦克，麦架，和线材，让你在录音棚里跑来跑去。这样就会增加事故发生的概率，比如碰倒麦架导致你非常昂贵的经典电子管麦克损坏。我们倒不如也作为一个话题谈谈。
ISOLATION AND AVOIDING REFLECTIONS
隔音和消除反射
Isolate the mics from the floor as much as possible so that they don’t pick up any rumbling noises. If your studio was not built with a floating floor (a second foundation over the first supported by rubber and styrofoam, as used in most pro studios; see Figure 1), a drum riser will help isolate the mics. Even if the studio has a floating floor, a drum riser may still be helpful. (When constructing a drum riser, make sure that it is solid and includes some type of rubber on the bottom of all surfaces that rest on the floor. Cover the platform with rugged, indoor/outdoor carpet.)
为了不拾到任何隆隆的噪音，要尽可能的把麦克和地板隔离。如果你的录音间不是建立在浮动地板上（第二基架是在首先被橡胶和泡沫支撑之上的，这办法同样用在很多专业工作室，见图1），鼓台（中空的台子用于抬高鼓组）也可以对隔离麦克有帮助。即使录音棚有浮动地板，鼓台也依然会有帮助。（在制作鼓台的时候，要确认它是坚固并且在和地板接触的所有底部的表面都有一些橡胶之类的填充。平台的表面要覆盖着粗糙的户内用或户外使用的地毯。）
If the drums will be set up on the floor itself, a carpeted floor cuts down on reflections; a hardwood floor will allow sound waves to bounce back up into the drums, possibly causing phase cancellations. Consider a floor tom mounted in a standard vertical orientation: With a hardwood floor, when the player hits the drum the bottom head vibrates sympathetically. This directs a waveform toward the floor, which bounces back up and interacts with the vibrating bottom head to cancel or emphasize certain frequencies.
如果鼓架在地板上，铺着地毯的的地板会阻止反射声；硬木地板会让声波向上反射回鼓组中，从而很可能引起相位消除现象。考虑到落地桶鼓是在标准垂直方向上：如用木地板，当鼓手击鼓，下面的鼓皮也要跟随着震动。这个直接向着地板去的声波将被反弹上来并且会对底面鼓皮的震动造成相消或加重某些频率的影响。
To minimize this problem, angle the floor tom slightly by lowering the triangular height rod (the one nearest the drummer) to taste; see Figure 2. This causes the waves to scatter somewhat.
为了解决这个问题，我们可以通过按习惯降低三角支架（靠近鼓手的一个）使落地桶鼓和地板形成轻微的角度；见图2，这会让声波反射稍微分散。
MIC CONSIDERATIONS
麦克的讨论
If the drums will be hit medium to hard, you’ll usually want to enable the mic’s built-in attenuation (“pad”) switch. This helps minimize the chance of distortion.
如果鼓被越来越有力度的击打，我们经常会希望把麦克内置的衰减开关打开，这样会帮助减少失真的机会。
Some condenser mics offer pattern choices. With an omni response, the mic hears everything — the front and back as well as on the sides. The figure 8 response allows the front and back of the diaphragm to be active but not the sides. Cardioid is directional on one side only, and is typically used for drums. Other patterns include “super cardioid” (very directional), which may be useful if you want to tighten up the sonic picture.
一些电容麦克提供模式选择。在全指向，麦克可以拾到前后左右所有声音。8字指向只能拾到振膜前后方的声音，而左右的不行。心形是单一的指向一个方向，非常适合用来录鼓。别的指向型包括“超心型”（超指向），假如你想缩紧声场可能会用得着。
Note that all of the following mic placement positions are my starting positions. When listening to the mics to dial in the sound, always move the mic around a bit to find the best sound.
需要注意的是，以下提到的所有麦克的摆位都是指起始位置。当一边听一边推高麦克的音量，总是要在很小的范围内移动麦克以得到最好的声音。
Regarding mics, there are so many, and the landscape has changed so much in the past few years with the advent of budget mics, that we won’t even attempt to recommend possible mics; I’ll just mention a few personal favorites and deal in generalities. One strategy for getting pointers on mics is reading interviews with producers and engineers whose work you admire, as they will often mention which mics they use for specific applications.
关于麦克的选择，总是有太多，而且随着几年后廉价麦克的出现，行情也会随之改变，所以我们也不做推荐合适的麦克的努力；我只会大概的说一些个人的喜好。另一个得到要点的途径是看你喜欢的工程师或制作人的专访，他们会经常提及哪些麦克是他们自己用来特殊运用的。
[ 本帖最后由 margindge 于 07-2-21 19:10 编辑 ]
INITIAL MIC SETUP: ONE OVERHEAD MIC
MIC初步调节：一支OVERHEAD MIC
Once the drums are set up, start by using one mic only — preferably a large capsule, wide-range condenser mic. Otherwise, use your best-sounding dynamic or ribbon mic.
当鼓装配好后，首先要做的就是最好用一只支大振膜宽频响的电容麦。或者，用你声音最好的动圈麦或铝带麦。
With the mic placed on a boom stand, position the mic about two feet above the drummer’s head, and point it straight down at the bass drum pedal’s inner edge. But positioning the mic is not enough: It has to be stable. Most mic stand bases can tip easily; if a mic hits the floor, it may be permanently damaged. The bigger the mic stand base, the better.
用吊杆把麦克固定到鼓手头部上方两英尺的高度，并让它向下指向底鼓踏板的内沿位置。但麦克光定位是远远不够的：还要绝对牢靠。很多麦架一碰就倒；如果一个麦克摔在地上，很可能永远都不能使用了。麦架基座越大，就越牢靠。
Anchor the mic stand with sand bags or any stable, heavy object that will not slip or rattle (three sand bags in a triangular position works for me). The best weights have a handle in the middle for carrying.
可以用沙袋或者其他固定方法来固定麦架，重量可以让它不滑动或者发出嗒嗒声（我会把三个沙袋成三角形位置安置）。最好的重物是有中间有提手方便搬运的那种。
Now that the stand is solid, while positioning the mic, wrap the mic cable around the boom stand arm a few times and leave a little slack at the back of the mic so the cord doesn’t pull at the mic and change its position. To keep the cord from moving, tie the cord to the stand using removable cable ties (available at most electronic supply stores). Put a few cable ties on the boom and a few on the main mic stand, all the way down to the base.
现在，在定位麦克的同时我们把麦架也固定了，当然不要忘了把话筒线缠在麦架上。虽然费点事，也可以休息一下，这样以后就不会因为线的拉拽而改变麦架的位置了。为了防止线材松动，用线缆扎带（电子元器件商店可以找到）把线绑在麦克架上。一些绑在吊杆上，一些绑在主麦克立架上，一直绑到基座为止。
Avoid permanent cable ties, or you will have to cut the cable tie and throw it away when putting away the mic and stand. Velcro cable wraps, available from most pro and consumer recording supply companies, are costly but are also the best choice as they are easy to set up and remove. In a pinch, you can use something like Scotch tape.
不要给线打死结，否则你会在收拾麦克和麦架的时候不得不剪断那些结并且扔掉。Velcro尼龙电缆扎带可以在专业录音用品供给公司买到。虽然非常贵，但是确实是最好的选择，因为使用非常方便。必要时，也可以使用像透明胶带（Scotch tape）类的代替。
Even though we’ve secured the mic stand and cable, someone could still trip over the mic cable and knock over the mic. But there is a solution.
即使我们固定了麦克、麦架和线缆，但是还有人会被线缆绊住并且碰到麦克。不过还有个办法。
With wood floors, use duct tape to tape down the mic cable on the floor, from the mic stand base to the mic panel or recording console. There should be a very little mic cable slack at the mic stand base.
在木地板上，用duct tape（一种多功能, 防水耐热，用来密闭供暖或空调管道的银色宽胶布， 一般有三层）把从麦架基座到接线板或调音台的麦克线固定到地板上。这将只有麦架基座上的一小部分线的是松弛的。
If you are low on duct tape, cross the cable in one foot strips about every two or three feet. Artist tape or any thin tape will not do the job. Keep the tape down tight, with no slack between the tape strips. In areas where there will be foot traffic, cover the cable totally with duct tape.
如果你没多少duct tape，那就每隔两到三英尺用一英尺宽的duct tape横着把线粘住。太薄的不结实的薄胶带是不适合做这个的。要把胶带贴牢靠，不要有松弛的部分。在会有人走动的区域里要把线全部包在胶带里。
With carpeted floors, avoid duct tape (which leaves glue residue) and put something like throw rugs over the cable. Bathroom rugs will work in a pinch. Get some carpet remnants, and cut them up to suit your needs. If you use carpet on a wood floor, make sure it won’t move (i.e., has a rubber underside) if someone walks across it.
如果地上铺着地毯的，就可以避免duct tape在地上留下的胶质残留，只须让地毯盖住线缆就可以了。浴室用的那种毯子会在使用过程中缩小。可以把一些边角料裁成需要的形状补上。如果你在木地板上铺地毯并且有人会在毯子上走动，那你要确定地毯不会滑动（也就是说，要有些橡胶在下面）。
Now that the mic stand and cable are secure, and the cable is taped down, plug the mic cable output into the appropriate mixer or audio interface channel. As there typically will be some cable slack at this end, “cable tie” after plugging in, then tape this down if someone could trip over the mic cable.
现在麦克架和线缆安全了，把麦克线的插头插到合适的调音台或音频接口上。这里就是线缆的另一端了，如果会有人在此被绊倒，那么再用胶带把这些线贴到地板上。
GENERAL TWEAKING WITH EQ
通常的EQ调节
When you’re satisfied with the mic position, experiment with the EQ. For more “bottom end” with the bass drum, toms, and snare, try boosting the low frequencies (e.g., +2dB at 100Hz). Experiment with other frequencies (from 50 to 150Hz or so) to discover the best area for your particular mic setup. Typically, 50Hz will not do much with distant miking, but 150Hz may be better than 100Hz in this situation.
如果你对麦克的摆位满意，就开始尝试着用EQ.底鼓拉高一些底端频率，筒鼓、军鼓尝试提升一下低频（也就是 +2dB 在 100Hz）。尝试在50到150Hz或者其他区域扫频，以找到对于麦克最合适的均衡设置。通常来说，调整50Hz在远距离拾音中没有多大的作用，调节150Hz比100Hz要更好。
Experiment with the midrange EQ. 2kHz through 4kHz will make the snare “bite,” and the toms will have more of an attack sound. However, the cymbals may start to sound painful with this added EQ. As mentioned, recording drums involves tradeoffs.
尝试对军鼓增益中心频段在2KHz到4KHz范围内的频段，会让军鼓更“Bite”（原意是叮咬的意思）。相同的EQ用在桶鼓上会得到更多的敲击起始时的声音。无论如何，给镲加EQ可能开始听起来很难听。需要说明，鼓的录制会包含很多折衷方案。
For the high frequencies, start with a very slight shelving boost at 10kHz. You’ll notice an added sheen; the cymbals will get louder, and all drums will sound brighter and more open. Careful, though — your ears can get used to the extra high frequencies, which means you’ll want to add more, but your ears get used to that, so you add more . . . a little high frequency boost goes a long way.
对于高频，先从对10KHz轻微的搁架式EQ增益开始着手，你会发现多了些光彩；镲大声些，会让所有的鼓都变得更明亮和更有张力。小心，你的耳朵会习惯较多的高频，虽然这不代表你会加更多的增益，但是你的耳朵已经习惯，所以你会加更多……一点点高频提升让你走了更多的路。
A typical setting (Figure 3) for one drum overhead mic would be adding at least a few dB in the low end (100 to 150Hz) and a few dB at 10 to 12kHz.
对于一个Overhead麦的标准的EQ设置（图三），可以对底端频率（100-150Hz）增益最少几个dB，10-12KHz稍微加几dB即可。
MIC初步调节：一支OVERHEAD MIC
Once the drums are set up, start by using one mic only — preferably a large capsule, wide-range condenser mic. Otherwise, use your best-sounding dynamic or ribbon mic.
当鼓装配好后，首先要做的就是最好用一只支大振膜宽频响的电容麦。或者，用你声音最好的动圈麦或铝带麦。
With the mic placed on a boom stand, position the mic about two feet above the drummer’s head, and point it straight down at the bass drum pedal’s inner edge. But positioning the mic is not enough: It has to be stable. Most mic stand bases can tip easily; if a mic hits the floor, it may be permanently damaged. The bigger the mic stand base, the better.
用吊杆把麦克固定到鼓手头部上方两英尺的高度，并让它向下指向底鼓踏板的内沿位置。但麦克光定位是远远不够的：还要绝对牢靠。很多麦架一碰就倒；如果一个麦克摔在地上，很可能永远都不能使用了。麦架基座越大，就越牢靠。
Anchor the mic stand with sand bags or any stable, heavy object that will not slip or rattle (three sand bags in a triangular position works for me). The best weights have a handle in the middle for carrying.
可以用沙袋或者其他固定方法来固定麦架，重量可以让它不滑动或者发出嗒嗒声（我会把三个沙袋成三角形位置安置）。最好的重物是有中间有提手方便搬运的那种。
Now that the stand is solid, while positioning the mic, wrap the mic cable around the boom stand arm a few times and leave a little slack at the back of the mic so the cord doesn’t pull at the mic and change its position. To keep the cord from moving, tie the cord to the stand using removable cable ties (available at most electronic supply stores). Put a few cable ties on the boom and a few on the main mic stand, all the way down to the base.
现在，在定位麦克的同时我们把麦架也固定了，当然不要忘了把话筒线缠在麦架上。虽然费点事，也可以休息一下，这样以后就不会因为线的拉拽而改变麦架的位置了。为了防止线材松动，用线缆扎带（电子元器件商店可以找到）把线绑在麦克架上。一些绑在吊杆上，一些绑在主麦克立架上，一直绑到基座为止。
Avoid permanent cable ties, or you will have to cut the cable tie and throw it away when putting away the mic and stand. Velcro cable wraps, available from most pro and consumer recording supply companies, are costly but are also the best choice as they are easy to set up and remove. In a pinch, you can use something like Scotch tape.
不要给线打死结，否则你会在收拾麦克和麦架的时候不得不剪断那些结并且扔掉。Velcro尼龙电缆扎带可以在专业录音用品供给公司买到。虽然非常贵，但是确实是最好的选择，因为使用非常方便。必要时，也可以使用像透明胶带（Scotch tape）类的代替。
Even though we’ve secured the mic stand and cable, someone could still trip over the mic cable and knock over the mic. But there is a solution.
即使我们固定了麦克、麦架和线缆，但是还有人会被线缆绊住并且碰到麦克。不过还有个办法。
With wood floors, use duct tape to tape down the mic cable on the floor, from the mic stand base to the mic panel or recording console. There should be a very little mic cable slack at the mic stand base.
在木地板上，用duct tape（一种多功能, 防水耐热，用来密闭供暖或空调管道的银色宽胶布， 一般有三层）把从麦架基座到接线板或调音台的麦克线固定到地板上。这将只有麦架基座上的一小部分线的是松弛的。
If you are low on duct tape, cross the cable in one foot strips about every two or three feet. Artist tape or any thin tape will not do the job. Keep the tape down tight, with no slack between the tape strips. In areas where there will be foot traffic, cover the cable totally with duct tape.
如果你没多少duct tape，那就每隔两到三英尺用一英尺宽的duct tape横着把线粘住。太薄的不结实的薄胶带是不适合做这个的。要把胶带贴牢靠，不要有松弛的部分。在会有人走动的区域里要把线全部包在胶带里。
With carpeted floors, avoid duct tape (which leaves glue residue) and put something like throw rugs over the cable. Bathroom rugs will work in a pinch. Get some carpet remnants, and cut them up to suit your needs. If you use carpet on a wood floor, make sure it won’t move (i.e., has a rubber underside) if someone walks across it.
如果地上铺着地毯的，就可以避免duct tape在地上留下的胶质残留，只须让地毯盖住线缆就可以了。浴室用的那种毯子会在使用过程中缩小。可以把一些边角料裁成需要的形状补上。如果你在木地板上铺地毯并且有人会在毯子上走动，那你要确定地毯不会滑动（也就是说，要有些橡胶在下面）。
Now that the mic stand and cable are secure, and the cable is taped down, plug the mic cable output into the appropriate mixer or audio interface channel. As there typically will be some cable slack at this end, “cable tie” after plugging in, then tape this down if someone could trip over the mic cable.
现在麦克架和线缆安全了，把麦克线的插头插到合适的调音台或音频接口上。这里就是线缆的另一端了，如果会有人在此被绊倒，那么再用胶带把这些线贴到地板上。
GENERAL TWEAKING WITH EQ
通常的EQ调节
When you’re satisfied with the mic position, experiment with the EQ. For more “bottom end” with the bass drum, toms, and snare, try boosting the low frequencies (e.g., +2dB at 100Hz). Experiment with other frequencies (from 50 to 150Hz or so) to discover the best area for your particular mic setup. Typically, 50Hz will not do much with distant miking, but 150Hz may be better than 100Hz in this situation.
如果你对麦克的摆位满意，就开始尝试着用EQ.底鼓拉高一些底端频率，筒鼓、军鼓尝试提升一下低频（也就是 +2dB 在 100Hz）。尝试在50到150Hz或者其他区域扫频，以找到对于麦克最合适的均衡设置。通常来说，调整50Hz在远距离拾音中没有多大的作用，调节150Hz比100Hz要更好。
Experiment with the midrange EQ. 2kHz through 4kHz will make the snare “bite,” and the toms will have more of an attack sound. However, the cymbals may start to sound painful with this added EQ. As mentioned, recording drums involves tradeoffs.
尝试对军鼓增益中心频段在2KHz到4KHz范围内的频段，会让军鼓更“Bite”（原意是叮咬的意思）。相同的EQ用在桶鼓上会得到更多的敲击起始时的声音。无论如何，给镲加EQ可能开始听起来很难听。需要说明，鼓的录制会包含很多折衷方案。
For the high frequencies, start with a very slight shelving boost at 10kHz. You’ll notice an added sheen; the cymbals will get louder, and all drums will sound brighter and more open. Careful, though — your ears can get used to the extra high frequencies, which means you’ll want to add more, but your ears get used to that, so you add more . . . a little high frequency boost goes a long way.
对于高频，先从对10KHz轻微的搁架式EQ增益开始着手，你会发现多了些光彩；镲大声些，会让所有的鼓都变得更明亮和更有张力。小心，你的耳朵会习惯较多的高频，虽然这不代表你会加更多的增益，但是你的耳朵已经习惯，所以你会加更多……一点点高频提升让你走了更多的路。
A typical setting (Figure 3) for one drum overhead mic would be adding at least a few dB in the low end (100 to 150Hz) and a few dB at 10 to 12kHz.
对于一个Overhead麦的标准的EQ设置（图三），可以对底端频率（100-150Hz）增益最少几个dB，10-12KHz稍微加几dB即可。
KICK DRUM MIC/PLACEMENT
底鼓麦及其摆位
A dynamic mic, which can handle loud sound pressure levels, is the typical choice. The Sennheiser 421 is popular, but try all the dynamic mics at your disposal. Some people use the Neumann 47 FET (condenser) mic. If you use any condenser mic, it is crucial to realize that the sound pressure may hurt the fragile condenser diaphragm. The rule of thumb regarding condenser mics is “use it only if you can put your ear in front of the sound source you will be miking without hurting your hearing.” Because the kick drum sound pressure and transient is strong, I highly recommend a dynamic mic.
一个可以对付大声压级的动圈麦克是通常的选择。Sennheiser MD421很流行，但是也要按照自己的安排尝试所有的动圈麦克。一些人用Neumann U47（文物）。不管你用任何一种电容麦，清楚大的声压会损伤电容麦的振膜是非常重要的。按经验来说，电容麦是“只有在把你的耳朵贴近音源而不会损伤听力的情况下使用的。”因为底鼓的声压和爆发力是非常强的，我极力推荐使用动圈麦。
If the mic you choose has a bass rolloff switch (bass attenuation), don’t use it! The rolloff (low end filter) might have choices like “music” and “voice” or “M” for music and “V” for voice. There may be more than these two options, like Voice 1&2. The voice mode is surely a low frequency rolloff, so use the lowest number music mode. When dialing in the sound, experiment with any switches to make sure that you are getting the mic’s full frequency range.
如果你选择的麦克有低频滚降开关，千万别用它！低频滚降（低切）或许有“Music”和“Voice”或者“M”（Music）和“V”（Voice）的选择。或许还有更多，比如Voice 1&2。“Voice”模式是一个完全的低频滚降，所以用最小级数的“Music”模式。当拨入信号时，尝试切换所有的模式以确定自己搞清楚了这个麦克的全频特性。
Kick options fall into three categories:
底鼓的拾音选择分成三个类型：
-If there’s no front kick drum head, position the mic inside the bass drum about a foot back from the point where the beater hits. Now move left half way to the side, and angle at 45% towards the left rim.
-如果底鼓前面没有鼓皮，那么就把麦克固定在鼓腔内距踩锤击打位置1英尺的位置。现在把麦克向左（个人认为这里指的是以鼓手的位置作标准）移动到距左腔壁1/4直径的位置，并且成45度指向左边的鼓圈。
-If the kick has two heads, with a hole for miking, place the mic about one foot in and angle slightly toward the left rim.
-如果有两面鼓皮，可以在鼓皮上挖一个孔用来拾音，把麦克深入鼓腔1英尺，并微微指向左边的鼓圈即可。
-If the kick has two heads and no hole for miking, place the mic about 6" back from the center, and slightly to the left.
-如果有两面鼓皮但是没有挖孔，那么可以把麦克放置在距鼓皮中心6英寸的位置稍稍向左转些即可。
All starting positions are just that. Finding the best mic position involves finding the best compromise between getting as much “natural bottom end” as possible without losing too much of the “point” (beater attack). Some like a boxy or boomy sound with or without “point.” For less point, move the mic farther away from the beater, meaning near the side of the shell and pointing away from the beater.
所有的起始位置就是这样了。寻找最佳的麦克摆位的过程，就是寻找如何在得到最多的“自然的底端频率”和在尽量少的失去敲击起始具有爆发力的鼓点声之间找到最折衷的办法的过程。
But also note that in these days of unlimited tracks, it’s very common to place more than one mic on the kick, and you’ll usually find a hole in the front head where you can stick a mic. Steve Sykes (a brilliant engineer) uses a dynamic mic inside the kick basically pointing at the beater. He also uses a Neumann U47 FET on the outside head a few inches back, and a Yamaha NS 10 woofer speaker as a mic! This adds the real lows (around the 60Hz range) in this era of home and car playback systems with extended low frequency response. He positions the woofer to taste on the outside head in which the low frequencies are thick — simply move around until you hear the most natural low frequencies.
但是仍然要注意的是，在轨道无限的今天，用多只麦克对底鼓拾音已经是很普通的事情，而且很容易就可以找到一个在前鼓皮挖了孔的鼓让你把麦克伸进去。Steve Sykes（一个非常有才气的工程师）用一个动圈麦伸入鼓腔指向踩锤敲击位置。他还用一个Neumann U47电容麦放置在鼓腔外距前鼓皮几英寸的地方，和一个用Yamaha NS 10的低音单元做成的麦克！在这个家庭和汽车播放系统的时代，这个办法确实增加了一些真实的低音（在60Hz左右的范围）和扩展了低频范围。 他把低音单元按“口味”放置在鼓皮外低频比较有密度的地方 — 简单的移动直到你听到最自然的低频为止。
When using multiple mics, though, slip the track for any mic set at some distance from the head so that its phase lines up with the dynamic mic inside the kick. This is important to maintain the fullest possible sound.
当使用多个麦克时，我们要把每一个麦克按照固定的轨迹移动来调整距鼓皮的距离，以防止它们与鼓腔内的麦克产生相位上的偏差。这对保持一个最完整而饱满的声音是非常重要的。
After experimenting with the kick drum mic placement, when you feel that it sounds good, reset the levels (if needed) and EQ to taste. Try adding around 60–100Hz to bring up the bottom end. If the sound is kind of “boxy,” try cutting the EQ response a bit at around 300–500Hz. To add more point, add a boost at 5kHz or so.
在底鼓麦摆位的试验好以后，当你觉得声音不错可以按“口味”重新调整电平大小（如果觉得需要）和均衡。尝试增益60—100Hz周围来提升一些底端频率。如果声音有点像“矮胖子”，就尝试在300—500Hz周围稍微切掉些。要加些敲击的“鼓点”声，就对5KHz左右的频率提升些。
The kick drum may have a pillow resting up against the inside bass drum head. Typically, the pillow rests equally between the bottom of the bass drum and the inside head. This stops the bass drum from ringing (reverberating) like a tom. The amount of pressure of the pillow against the head defines the sound’s “dwell.” During the ’70s pop music era, the pillow was packed against the head but these days, there are no rules — the kick sound can go from a totally dead sound to wide open, with no pillow or padding. When using padding, anchor the pillow down with a sand bag or a non-reflecting heavy object so it doesn’t move.
底鼓里可能会有一个鼓枕靠着鼓皮放在鼓腔中。通常来说，鼓枕要平均的放在鼓腔底部和鼓皮之间。这会防止底鼓出现像桶鼓般（带混响似的）响亮声。鼓枕靠着鼓皮的压力值决定着声音的“驻留”特性。在70年代的流行乐的时代，鼓枕会被填满靠在鼓皮上，但在今天却没什么定则了—底鼓的声音可以从完全的死板到彻底的开放，在没有鼓枕和填充物的情况下。当使用填充物的时候，要用沙袋或者不会有声反射的重物把它压着，这样它就不会移动。
Drum tuning is crucial. If using padding, pull back the padding and ask the drummer to get the tuning “even” and as low as possible without making the head too loose for the beater. This is a touchy area. The drummer needs to be comfortable with the feel of the beater hitting the head. The experienced drummer should know the sweet spot for the tuning. The room sound may help dictate the best tuning if you don’t use a pillow.
鼓的调节是很重要的。如果你用填充物，把填充物一边往后移一边问鼓手，以得到一个合适的、一个在为了踩锤而没有把鼓皮调节的过分松弛的情况下尽可能多的低频下潜的调节。这是一个难以处理的区域。鼓手需要一个非常舒适的踩锤击打鼓皮的感觉。有经验的鼓手会知道对于调音来说最佳的听音位置。房间的声音可能会对帮助你完成最佳的调节有所指示，如果你不用鼓枕的话。
If the kick drum has one head, after getting the kick drum sound to taste acoustically, put a packing blanket or any thick blanket over the bass drum’s outer shell. This helps isolation. Tape the blanket on the drum near the center of the shell with duct tape or any strong tape, and let it hang on the floor over the outside of the kick. If you’re not using a pillow, and will be using room mics, you may not want to use the packing blanket.
如果底鼓只有一面鼓皮，在听觉上得到自己喜欢的底鼓声之后，用一张包装塑料布或者任何厚的覆盖物覆盖在底鼓鼓桶上。这样会有助于隔离。用duct tape或者其他结实的胶带把塑料布粘在鼓外壳大概中间的位置，并且一直这样粘到地板上以完全把底鼓覆盖住（没有鼓皮的一面）。如果你使用鼓枕或者将要使用房间麦克拾音，那么你或许不愿意使用这个包装塑料布。
底鼓麦及其摆位
A dynamic mic, which can handle loud sound pressure levels, is the typical choice. The Sennheiser 421 is popular, but try all the dynamic mics at your disposal. Some people use the Neumann 47 FET (condenser) mic. If you use any condenser mic, it is crucial to realize that the sound pressure may hurt the fragile condenser diaphragm. The rule of thumb regarding condenser mics is “use it only if you can put your ear in front of the sound source you will be miking without hurting your hearing.” Because the kick drum sound pressure and transient is strong, I highly recommend a dynamic mic.
一个可以对付大声压级的动圈麦克是通常的选择。Sennheiser MD421很流行，但是也要按照自己的安排尝试所有的动圈麦克。一些人用Neumann U47（文物）。不管你用任何一种电容麦，清楚大的声压会损伤电容麦的振膜是非常重要的。按经验来说，电容麦是“只有在把你的耳朵贴近音源而不会损伤听力的情况下使用的。”因为底鼓的声压和爆发力是非常强的，我极力推荐使用动圈麦。
If the mic you choose has a bass rolloff switch (bass attenuation), don’t use it! The rolloff (low end filter) might have choices like “music” and “voice” or “M” for music and “V” for voice. There may be more than these two options, like Voice 1&2. The voice mode is surely a low frequency rolloff, so use the lowest number music mode. When dialing in the sound, experiment with any switches to make sure that you are getting the mic’s full frequency range.
如果你选择的麦克有低频滚降开关，千万别用它！低频滚降（低切）或许有“Music”和“Voice”或者“M”（Music）和“V”（Voice）的选择。或许还有更多，比如Voice 1&2。“Voice”模式是一个完全的低频滚降，所以用最小级数的“Music”模式。当拨入信号时，尝试切换所有的模式以确定自己搞清楚了这个麦克的全频特性。
Kick options fall into three categories:
底鼓的拾音选择分成三个类型：
-If there’s no front kick drum head, position the mic inside the bass drum about a foot back from the point where the beater hits. Now move left half way to the side, and angle at 45% towards the left rim.
-如果底鼓前面没有鼓皮，那么就把麦克固定在鼓腔内距踩锤击打位置1英尺的位置。现在把麦克向左（个人认为这里指的是以鼓手的位置作标准）移动到距左腔壁1/4直径的位置，并且成45度指向左边的鼓圈。
-If the kick has two heads, with a hole for miking, place the mic about one foot in and angle slightly toward the left rim.
-如果有两面鼓皮，可以在鼓皮上挖一个孔用来拾音，把麦克深入鼓腔1英尺，并微微指向左边的鼓圈即可。
-If the kick has two heads and no hole for miking, place the mic about 6" back from the center, and slightly to the left.
-如果有两面鼓皮但是没有挖孔，那么可以把麦克放置在距鼓皮中心6英寸的位置稍稍向左转些即可。
All starting positions are just that. Finding the best mic position involves finding the best compromise between getting as much “natural bottom end” as possible without losing too much of the “point” (beater attack). Some like a boxy or boomy sound with or without “point.” For less point, move the mic farther away from the beater, meaning near the side of the shell and pointing away from the beater.
所有的起始位置就是这样了。寻找最佳的麦克摆位的过程，就是寻找如何在得到最多的“自然的底端频率”和在尽量少的失去敲击起始具有爆发力的鼓点声之间找到最折衷的办法的过程。
But also note that in these days of unlimited tracks, it’s very common to place more than one mic on the kick, and you’ll usually find a hole in the front head where you can stick a mic. Steve Sykes (a brilliant engineer) uses a dynamic mic inside the kick basically pointing at the beater. He also uses a Neumann U47 FET on the outside head a few inches back, and a Yamaha NS 10 woofer speaker as a mic! This adds the real lows (around the 60Hz range) in this era of home and car playback systems with extended low frequency response. He positions the woofer to taste on the outside head in which the low frequencies are thick — simply move around until you hear the most natural low frequencies.
但是仍然要注意的是，在轨道无限的今天，用多只麦克对底鼓拾音已经是很普通的事情，而且很容易就可以找到一个在前鼓皮挖了孔的鼓让你把麦克伸进去。Steve Sykes（一个非常有才气的工程师）用一个动圈麦伸入鼓腔指向踩锤敲击位置。他还用一个Neumann U47电容麦放置在鼓腔外距前鼓皮几英寸的地方，和一个用Yamaha NS 10的低音单元做成的麦克！在这个家庭和汽车播放系统的时代，这个办法确实增加了一些真实的低音（在60Hz左右的范围）和扩展了低频范围。 他把低音单元按“口味”放置在鼓皮外低频比较有密度的地方 — 简单的移动直到你听到最自然的低频为止。
When using multiple mics, though, slip the track for any mic set at some distance from the head so that its phase lines up with the dynamic mic inside the kick. This is important to maintain the fullest possible sound.
当使用多个麦克时，我们要把每一个麦克按照固定的轨迹移动来调整距鼓皮的距离，以防止它们与鼓腔内的麦克产生相位上的偏差。这对保持一个最完整而饱满的声音是非常重要的。
After experimenting with the kick drum mic placement, when you feel that it sounds good, reset the levels (if needed) and EQ to taste. Try adding around 60–100Hz to bring up the bottom end. If the sound is kind of “boxy,” try cutting the EQ response a bit at around 300–500Hz. To add more point, add a boost at 5kHz or so.
在底鼓麦摆位的试验好以后，当你觉得声音不错可以按“口味”重新调整电平大小（如果觉得需要）和均衡。尝试增益60—100Hz周围来提升一些底端频率。如果声音有点像“矮胖子”，就尝试在300—500Hz周围稍微切掉些。要加些敲击的“鼓点”声，就对5KHz左右的频率提升些。
The kick drum may have a pillow resting up against the inside bass drum head. Typically, the pillow rests equally between the bottom of the bass drum and the inside head. This stops the bass drum from ringing (reverberating) like a tom. The amount of pressure of the pillow against the head defines the sound’s “dwell.” During the ’70s pop music era, the pillow was packed against the head but these days, there are no rules — the kick sound can go from a totally dead sound to wide open, with no pillow or padding. When using padding, anchor the pillow down with a sand bag or a non-reflecting heavy object so it doesn’t move.
底鼓里可能会有一个鼓枕靠着鼓皮放在鼓腔中。通常来说，鼓枕要平均的放在鼓腔底部和鼓皮之间。这会防止底鼓出现像桶鼓般（带混响似的）响亮声。鼓枕靠着鼓皮的压力值决定着声音的“驻留”特性。在70年代的流行乐的时代，鼓枕会被填满靠在鼓皮上，但在今天却没什么定则了—底鼓的声音可以从完全的死板到彻底的开放，在没有鼓枕和填充物的情况下。当使用填充物的时候，要用沙袋或者不会有声反射的重物把它压着，这样它就不会移动。
Drum tuning is crucial. If using padding, pull back the padding and ask the drummer to get the tuning “even” and as low as possible without making the head too loose for the beater. This is a touchy area. The drummer needs to be comfortable with the feel of the beater hitting the head. The experienced drummer should know the sweet spot for the tuning. The room sound may help dictate the best tuning if you don’t use a pillow.
鼓的调节是很重要的。如果你用填充物，把填充物一边往后移一边问鼓手，以得到一个合适的、一个在为了踩锤而没有把鼓皮调节的过分松弛的情况下尽可能多的低频下潜的调节。这是一个难以处理的区域。鼓手需要一个非常舒适的踩锤击打鼓皮的感觉。有经验的鼓手会知道对于调音来说最佳的听音位置。房间的声音可能会对帮助你完成最佳的调节有所指示，如果你不用鼓枕的话。
If the kick drum has one head, after getting the kick drum sound to taste acoustically, put a packing blanket or any thick blanket over the bass drum’s outer shell. This helps isolation. Tape the blanket on the drum near the center of the shell with duct tape or any strong tape, and let it hang on the floor over the outside of the kick. If you’re not using a pillow, and will be using room mics, you may not want to use the packing blanket.
如果底鼓只有一面鼓皮，在听觉上得到自己喜欢的底鼓声之后，用一张包装塑料布或者任何厚的覆盖物覆盖在底鼓鼓桶上。这样会有助于隔离。用duct tape或者其他结实的胶带把塑料布粘在鼓外壳大概中间的位置，并且一直这样粘到地板上以完全把底鼓覆盖住（没有鼓皮的一面）。如果你使用鼓枕或者将要使用房间麦克拾音，那么你或许不愿意使用这个包装塑料布。
SNARE DRUM MIC/PLACEMENT
军鼓麦及其摆位
Typically, a dynamic mic (like the “old standby” Shure SM 57) does the job. There are many options to explore, as most dynamics will sound anywhere from usable to great on a snare. Condensers are used sometimes, but watch out regarding mic placement. If the drummer accidentally hits an SM 57, this is a drag but the replacement cost is cheap in comparison.
通常来说，一个动圈麦（例如“老替补”Shure SM 57）就能胜任。当然还有很多选择可以探索。在军鼓上，大多数的动态麦克的声音都介于能用和非常好之间。电容麦克有时也经常用，但是要非常注意麦克位置的问题。如果鼓手偶尔击打到SM57，虽然很讨厌，但是相对于电容麦来说，更换设备就会便宜的多。
My favorite condenser for snare is the Sony 37A tube condenser mic. Yes, this breaks the rule regarding sound levels with condenser diaphragms; but if this mic sounds best after trying many mics, I cross my fingers and hope it survives the session.
我录军鼓最喜欢用的电容麦是SONY37A管子麦。是的，这对于电容振膜所承受声压级来说是违反常规的；但是如果在尝试之后发现这个麦克的声音比很多麦克都好，我会祈求好运并且希望它能侥幸逃生。
You’ll need a mic “boom stand” for the snare. As with all mic stands for the drum mics, a big base or triangular base (three legs) is best. Position the mic stand between the hi-hat and kick drum, with the boom extended to the nearest edge of the snare rim. Now move the boom in order to position the mic about 2" over the rim edge, and move in about 2" in toward the center of the snare head. Adjust the mic capsule to point at a 45º angle toward the drum head (Figure 4).
你需要为军鼓准备一个麦克的“吊杆支架”，和所有的鼓麦架一样，有一个大的基座或者三角支架（三条腿的）是最好。把麦克架放在踩镲和底鼓中间的位置，这样吊臂可以伸到军鼓鼓边的附近。现在移动吊臂以将麦克放置到大概超出军鼓金属鼓边2英寸的位置，也要往军鼓鼓皮中心移动大约2英寸。调整麦克使其振膜45度指向鼓皮（图4）。
Ask the drummer if the mic is in the way, i.e., it would be possible to hit the mic when playing. If so, back it up until the drummer feels the mic is out of the way.
问问鼓手麦克的位置是否碍事，也就是说，它在演奏的时候可能会被击中。如果是那样，就把麦克往后移直到鼓手觉得不碍事为止。
Moving the mic closer to the drum head picks up more low end. The ’80s-era mic placement was around 1" away from the head to get the “proximity effect.” Around 3" is typical these days but as always, move and experiment. If the mic has a bass rolloff, don’t use it — you can always trim the bottom later with the console EQ.
麦克移动的离鼓皮越近就会拾到越多的低频。80年代的麦克摆位都把麦克放置到距鼓皮1英寸左右的位置以得到“亲近感”。在今天通常来说是3英寸左右，但也总要移动和尝试。如果麦克有低频滚降，不要用它 — 你总可以最后在调音台的EQ上修整低频。
Some people mic the snare on top with something like an SM 57 and use another mic (typically a dynamic or small capsule condenser) on the bottom to pick up more of the “snare rattle.” Start by pointing the bottom mic up to the center of the snare drum bottom head, about 4" under. If the mic is a condenser with pattern selection, use super cardioid or cardioid.
一些人在军鼓上面用一支像SM57的麦克拾音，然后用另外一支麦克（标准的动圈或者小振膜电容麦）在底部拾取更多的“snare rattle”（不知如何翻译恰当，总之是一种干而脆的喀喀声）。开始先把军鼓底麦放在军鼓底鼓皮中心下方，大约在下方4英寸。如果选择电容麦，那么就用心型或超心型指向的。
This is a good place for a short mic stand, as fitting a boom stand in the area of the other stands will be tight. Small stands usually have a small base, so secure it with sand bags and maybe duct tape too. A gooseneck stand adapter may work — but the gooseneck will move easily if the mic cable pulls on it.
这个位置用矮麦克架最合适，其他类型的就比较困难了。小架子有比较小的基座，所以可以放心的挂沙袋或者用duct tape什么的。鹅颈式架子似乎也可以 — 但是麦克线可以很容易就让它移动位置。
When using a top and bottom mic, note that when two mics face each other so the top mic diaphragm sees the air moving away when the snare is hit, while the bottom mic sees the air coming toward the diaphragm. This causes phase cancellation. The fix is to reverse the phase on one of the mics. In this case, reverse the top mic. (Note that you should also reverse the phase of all mics on drums that are miked from the top of the sound source — the only mic that sees correct phase is the kick — air moving towards the diaphragm at initial attack.）
当军鼓上下都使用麦克，并且振膜正对着的时候，需要注意的是：当军鼓被敲击时，上面麦克振膜需要面对的情况是空气离它而去；而下面麦克面对的却是空气的来袭。这样就会导致相位消除现象。解决的办法是在其中一路麦克信号上作反相处理。既然这样，把上面的麦克反相好了。（需要注意的是，你同样也要反相在鼓之上的所有麦克的信号，因为它们都是在音源上方拾取信号 — 看来相位合适的只有拾底鼓的麦克了 — 在撞击开始的那一刻，空气就是向着振膜而来。）
HI-HAT MIC/PLACEMENT
踩镲麦及其摆位
Many condensers will work. Small diaphragm condenser mics are the usual choice. The AKG 451 or 452 are both fairly common. If the mic has a low end rolloff filter, you may want to use it as you do not want bottom end (low frequencies) from the hi-hat mic. If you will use something other than a condenser mic, use a mic that sounds “small,” “tight,” and bright.
多数电容麦都可胜任。小振膜电容麦是通常的选择。AKG 451或AKG 452都是很常见的。如果麦克有低频滚降开关，你或许想用它在你不希望从踩镲麦里得到底端频率（低频）的情况下。如果你想使用电容麦以外的其它麦克，那么就选择些声音听起来比较“细小”，“结实”和明亮的麦克。
Set the mic boom stand so the mic is directly above the shaft of the high pedal, then back away from the drummer half way to the outer edge of the hats. The mic should point straight down and about a foot above (Figure 5). As always, you will want to move this mic around while dialing in the sound.
麦克架的放置首先要让麦克在弹起的踏板轴的正上方，然后再把麦架向鼓手的外面移动1/2个镲片的距离。麦克将垂直指向下方并且距离镲片大约1英尺（图5）。在拾入信号的时候，你始终会有四周移动麦克的欲望。
军鼓麦及其摆位
Typically, a dynamic mic (like the “old standby” Shure SM 57) does the job. There are many options to explore, as most dynamics will sound anywhere from usable to great on a snare. Condensers are used sometimes, but watch out regarding mic placement. If the drummer accidentally hits an SM 57, this is a drag but the replacement cost is cheap in comparison.
通常来说，一个动圈麦（例如“老替补”Shure SM 57）就能胜任。当然还有很多选择可以探索。在军鼓上，大多数的动态麦克的声音都介于能用和非常好之间。电容麦克有时也经常用，但是要非常注意麦克位置的问题。如果鼓手偶尔击打到SM57，虽然很讨厌，但是相对于电容麦来说，更换设备就会便宜的多。
My favorite condenser for snare is the Sony 37A tube condenser mic. Yes, this breaks the rule regarding sound levels with condenser diaphragms; but if this mic sounds best after trying many mics, I cross my fingers and hope it survives the session.
我录军鼓最喜欢用的电容麦是SONY37A管子麦。是的，这对于电容振膜所承受声压级来说是违反常规的；但是如果在尝试之后发现这个麦克的声音比很多麦克都好，我会祈求好运并且希望它能侥幸逃生。
You’ll need a mic “boom stand” for the snare. As with all mic stands for the drum mics, a big base or triangular base (three legs) is best. Position the mic stand between the hi-hat and kick drum, with the boom extended to the nearest edge of the snare rim. Now move the boom in order to position the mic about 2" over the rim edge, and move in about 2" in toward the center of the snare head. Adjust the mic capsule to point at a 45º angle toward the drum head (Figure 4).
你需要为军鼓准备一个麦克的“吊杆支架”，和所有的鼓麦架一样，有一个大的基座或者三角支架（三条腿的）是最好。把麦克架放在踩镲和底鼓中间的位置，这样吊臂可以伸到军鼓鼓边的附近。现在移动吊臂以将麦克放置到大概超出军鼓金属鼓边2英寸的位置，也要往军鼓鼓皮中心移动大约2英寸。调整麦克使其振膜45度指向鼓皮（图4）。
Ask the drummer if the mic is in the way, i.e., it would be possible to hit the mic when playing. If so, back it up until the drummer feels the mic is out of the way.
问问鼓手麦克的位置是否碍事，也就是说，它在演奏的时候可能会被击中。如果是那样，就把麦克往后移直到鼓手觉得不碍事为止。
Moving the mic closer to the drum head picks up more low end. The ’80s-era mic placement was around 1" away from the head to get the “proximity effect.” Around 3" is typical these days but as always, move and experiment. If the mic has a bass rolloff, don’t use it — you can always trim the bottom later with the console EQ.
麦克移动的离鼓皮越近就会拾到越多的低频。80年代的麦克摆位都把麦克放置到距鼓皮1英寸左右的位置以得到“亲近感”。在今天通常来说是3英寸左右，但也总要移动和尝试。如果麦克有低频滚降，不要用它 — 你总可以最后在调音台的EQ上修整低频。
Some people mic the snare on top with something like an SM 57 and use another mic (typically a dynamic or small capsule condenser) on the bottom to pick up more of the “snare rattle.” Start by pointing the bottom mic up to the center of the snare drum bottom head, about 4" under. If the mic is a condenser with pattern selection, use super cardioid or cardioid.
一些人在军鼓上面用一支像SM57的麦克拾音，然后用另外一支麦克（标准的动圈或者小振膜电容麦）在底部拾取更多的“snare rattle”（不知如何翻译恰当，总之是一种干而脆的喀喀声）。开始先把军鼓底麦放在军鼓底鼓皮中心下方，大约在下方4英寸。如果选择电容麦，那么就用心型或超心型指向的。
This is a good place for a short mic stand, as fitting a boom stand in the area of the other stands will be tight. Small stands usually have a small base, so secure it with sand bags and maybe duct tape too. A gooseneck stand adapter may work — but the gooseneck will move easily if the mic cable pulls on it.
这个位置用矮麦克架最合适，其他类型的就比较困难了。小架子有比较小的基座，所以可以放心的挂沙袋或者用duct tape什么的。鹅颈式架子似乎也可以 — 但是麦克线可以很容易就让它移动位置。
When using a top and bottom mic, note that when two mics face each other so the top mic diaphragm sees the air moving away when the snare is hit, while the bottom mic sees the air coming toward the diaphragm. This causes phase cancellation. The fix is to reverse the phase on one of the mics. In this case, reverse the top mic. (Note that you should also reverse the phase of all mics on drums that are miked from the top of the sound source — the only mic that sees correct phase is the kick — air moving towards the diaphragm at initial attack.）
当军鼓上下都使用麦克，并且振膜正对着的时候，需要注意的是：当军鼓被敲击时，上面麦克振膜需要面对的情况是空气离它而去；而下面麦克面对的却是空气的来袭。这样就会导致相位消除现象。解决的办法是在其中一路麦克信号上作反相处理。既然这样，把上面的麦克反相好了。（需要注意的是，你同样也要反相在鼓之上的所有麦克的信号，因为它们都是在音源上方拾取信号 — 看来相位合适的只有拾底鼓的麦克了 — 在撞击开始的那一刻，空气就是向着振膜而来。）
HI-HAT MIC/PLACEMENT
踩镲麦及其摆位
Many condensers will work. Small diaphragm condenser mics are the usual choice. The AKG 451 or 452 are both fairly common. If the mic has a low end rolloff filter, you may want to use it as you do not want bottom end (low frequencies) from the hi-hat mic. If you will use something other than a condenser mic, use a mic that sounds “small,” “tight,” and bright.
多数电容麦都可胜任。小振膜电容麦是通常的选择。AKG 451或AKG 452都是很常见的。如果麦克有低频滚降开关，你或许想用它在你不希望从踩镲麦里得到底端频率（低频）的情况下。如果你想使用电容麦以外的其它麦克，那么就选择些声音听起来比较“细小”，“结实”和明亮的麦克。
Set the mic boom stand so the mic is directly above the shaft of the high pedal, then back away from the drummer half way to the outer edge of the hats. The mic should point straight down and about a foot above (Figure 5). As always, you will want to move this mic around while dialing in the sound.
麦克架的放置首先要让麦克在弹起的踏板轴的正上方，然后再把麦架向鼓手的外面移动1/2个镲片的距离。麦克将垂直指向下方并且距离镲片大约1英尺（图5）。在拾入信号的时候，你始终会有四周移动麦克的欲望。
TOM MICS/PLACEMENT
桶鼓麦及其摆位
This is an area where dynamics and condensers are used about equally. With dynamic mics, use ones with a fair amount of low end response. The Sennheiser 421 is a good choice but watch out where you place it, as the mic is large and may get hit by a drum stick or wobbling cymbal. SM 57s are a possibility, as are many others. I like small capsule condensers (AKG 391 or 451/452) on rack toms, and large diaphragm condensers (AKG 414 EB) on the floor tom(s) for a smooth, big response. For the high and mid toms, it’s best to use the same model mic.
这是一个动圈麦和电容麦差不多都同被使用到的区域。当使用动圈麦克时，用一种能得到准确低频频率响应的麦克。Sennheiser MD421是一个非常好的选择，但是要注意它的摆位，像麦克较大而且可能被鼓槌或者摆动的镲击中。SM 57也可以，还有很多其他的。我喜欢用小振膜电容麦（AKG C391或者C451/452）来录挂式桶鼓，大振膜电容麦（AKG C414）在低音落地桶鼓上以得到一个平滑，大响应的声音。在高音和中音桶鼓上最好使用相同型号的麦克。
Set the boom stand for the high tom on the floor in front of the kick drum/tom; position the mic about 2" above the tom, and about 1" in from the rim away from the drummer. Same for the mid tom. Position the floor tom mic stand on the floor and set in the same manner. One reason for setting the mics fairly close is that the “proximity effect,” which accentuates the low end, will be a good friend if you want a full, deep tom sound.
在底鼓/桶鼓前面的地板上放置高音桶鼓的麦克架；把麦克定位在桶鼓上方大致2英寸，并且在向着鼓手的方向深入鼓边1英寸的位置。同样的方法对待中音桶鼓。把落地桶鼓的麦架放在地板上并且用同样的方式调节。麦克摆放的如此近的一个理由是由于“近场效应”，它会加重底端频率，如果你希望一个肥大的，有深度的桶鼓，它将会成为非常好的朋友。
If the drummer has the cymbals positioned low and close to the toms, grab each cymbal and move it on its axis to see if it will hit the mic or stand. If there’s no way to avoid the cymbal hitting the tom mic stand or mic, as a last resort you now have to ask something drummers usually don’t like to hear: “Please move the cymbals up a taste.” An experienced player will adapt if necessary.
如果鼓手把镲放置的离桶鼓非常近以至于会打到麦克和麦克架的话，就尝试抓住每个镲片沿它的座轴移动。如果没有办法避免镲片打到桶鼓麦架或麦，万不得已你现在不得不问一些鼓手通常不喜欢听到的问题 “请把镲片往高提一提试试”。一个有经验的演奏者如果觉得有必要，会使其适应需要。
CYMBAL (OVERHEADS) MICS/PLACEMENT
镲（OVERHEADS）麦克及其摆位
Condenser mics are the norm. I like AGK 414s, but most any good condenser pair will do the trick. Neuman, Telefunken, and AKG are typical brands of this era as well as past eras. Avoid mics with a built-in 2kHz bump (build up) like the SM 57; this is one application where this mic is not recommended. If you must use the SM 57, when “dialing in the sound,” use the EQ to roll out a few dB at 2kHz or so.
电容麦是标准的选择。我喜欢AGK C414，但是几乎所有好的一对电容麦克都能胜任。Neuman, Telefunken,和AKG都是这个时代以及过去时代的标志性厂牌。避免选择那些像SM 57那样，本身在2KHz有突出和提升的麦克；这个麦克不推荐用在这里。如果非要用SM 57，那么在“拨入信号”的时候，用EQ把2KHz左右稍稍拉下几dB。
When positioning the two overhead mics, be very careful that they don’t fall down as the booms will generally be extended to full length. Secure the mic stands as soon as you’ve set the position.
在给两支OH（overhead）麦摆位的时候，你要非常小心以防麦架臂由于被拉伸到最长而摔倒。在你摆位的同时就要确保麦架的稳定。
As mentioned previously, I look at drums from the audience perspective (floor tom at the left, hi-hat on the right). In this case, position the left overhead boom mic between the center of the ride and crash cymbal about 2–3 feet above. Start by pointing the mic straight down.
事先说明，我从听众的视角来看鼓（落地桶鼓在左，踩镲在右）。既然这样，就要把左侧的OH麦架臂固定在叮叮镲和碎音镲的中间大约2–3英尺高的地方。然后先把麦克垂直指向下方。
Position the right overhead over the crash on the right side, with the same basic placement. If there’s more than one crash on this side, go between the cymbals as on the opposite side. Position the mic stand on the floor near the hi-hat mic stand.
把右侧OH麦架臂固定在碎音镲右缘上方作为基础位置。如果有不止一个镲在这边，那就再往另一边的镲的方向移动些。把麦克架架在踩镲麦架附近的地板上。
If the drummer hits the crash cymbals hard, and they’re fairly loose on the cymbal stand, they will wobble and you will hear this wobble in the mics. A little wobble sounds natural, but extreme wobble will sound like the cymbal is almost canceling out during the travel when the cymbal edges get near 90º away from the mic. A possible fix is to angle the mics at about 45º in towards the center of the cymbals, but this may not totally fix the problem and is not a good position for the overheads in general. The best fix is to ask the drummer to tighten the cymbal nut to cut down on the wobble.
如果鼓手击打碎音镲很用力，并且镲在架子上都很松，那么它们会来回摆动并且你在麦克里都能听到这种摆动。小的摆动听起来会很自然，但是极端的摆动会在镲的边缘与麦克接近90º的过程中让声音听起来几乎完全抵消了。一个可行的办法是将麦克45º指向镲的中心，但是这或许不能完全解决这个问题，并且通常来说对于OH麦也不是一个好的摆位。最好的办法是问问鼓手能不能扭紧碎音镲上的螺栓以减弱镲的摆动。
If the drummer uses more than four cymbals, and if the ride cymbal is used instead of the hi-hat as the constant time keeper, you might need to add another mic for the ride cymbal if it’s not loud enough in the overhead mic compared to the crash cymbals. Again, a small diaphragm condenser works well.
如果鼓手使用了至少4个镲，并且鼓手习惯用叮叮镲来代替踩镲来作为“constant time keeper”（应该是节奏控制）的话，你可能需要加另外一个专门录叮叮镲的麦克，如果它在OH麦中的声音和碎音镲相比不够大的话。同样，小振膜麦克可以做的很好。
Position the mic above the center of the ride cymbal, looking straight down and about a foot above. Move in half way between the center and the inner edge of the ride if you want more “ping” (drum stick sound).
把麦克竖直朝下固定在叮叮镲中心上方1英尺的位置， 向内移动1/2镲帽的距离如果你希望得到更多的“PING”声（鼓槌击打的声音）。
Which is the main overhead mic? Typically the one with the ride cymbal, so let’s say left overhead. Take a piece of string (or a mic cable, whatever) and hold it against the center of the main overhead mic diaphragm. Put the other end of the string in the center of the snare head. Now that you know the distance of the left overhead in relation to the center of the snare head, use that same measurement for the right overhead mic, meaning move the right overhead mic up/down, or slightly change where the cymbal is miked, to achieve the exact same length to the center of the snare head. This will minimize snare comb filtering/phase cancellation in the overhead mics.
哪一个是主OH麦？通常来说是叮叮镲的那一支，所以我们就说是左面的一支。拿来一段细绳（或者是麦克线什么的）并将其拉直以测量主OH麦振膜中心到军鼓鼓皮中心的距离，用同样的方法测出右侧OH麦到军鼓距离。这就意味着要把右侧OH麦的高度提升或降低，或者轻微的移动拾音的位置，以达到两OH麦振膜到军鼓鼓皮中心的距离是完全相同的距离。这会将军鼓在OH麦中的梳状滤波/相位消除效应降到最小。
桶鼓麦及其摆位
This is an area where dynamics and condensers are used about equally. With dynamic mics, use ones with a fair amount of low end response. The Sennheiser 421 is a good choice but watch out where you place it, as the mic is large and may get hit by a drum stick or wobbling cymbal. SM 57s are a possibility, as are many others. I like small capsule condensers (AKG 391 or 451/452) on rack toms, and large diaphragm condensers (AKG 414 EB) on the floor tom(s) for a smooth, big response. For the high and mid toms, it’s best to use the same model mic.
这是一个动圈麦和电容麦差不多都同被使用到的区域。当使用动圈麦克时，用一种能得到准确低频频率响应的麦克。Sennheiser MD421是一个非常好的选择，但是要注意它的摆位，像麦克较大而且可能被鼓槌或者摆动的镲击中。SM 57也可以，还有很多其他的。我喜欢用小振膜电容麦（AKG C391或者C451/452）来录挂式桶鼓，大振膜电容麦（AKG C414）在低音落地桶鼓上以得到一个平滑，大响应的声音。在高音和中音桶鼓上最好使用相同型号的麦克。
Set the boom stand for the high tom on the floor in front of the kick drum/tom; position the mic about 2" above the tom, and about 1" in from the rim away from the drummer. Same for the mid tom. Position the floor tom mic stand on the floor and set in the same manner. One reason for setting the mics fairly close is that the “proximity effect,” which accentuates the low end, will be a good friend if you want a full, deep tom sound.
在底鼓/桶鼓前面的地板上放置高音桶鼓的麦克架；把麦克定位在桶鼓上方大致2英寸，并且在向着鼓手的方向深入鼓边1英寸的位置。同样的方法对待中音桶鼓。把落地桶鼓的麦架放在地板上并且用同样的方式调节。麦克摆放的如此近的一个理由是由于“近场效应”，它会加重底端频率，如果你希望一个肥大的，有深度的桶鼓，它将会成为非常好的朋友。
If the drummer has the cymbals positioned low and close to the toms, grab each cymbal and move it on its axis to see if it will hit the mic or stand. If there’s no way to avoid the cymbal hitting the tom mic stand or mic, as a last resort you now have to ask something drummers usually don’t like to hear: “Please move the cymbals up a taste.” An experienced player will adapt if necessary.
如果鼓手把镲放置的离桶鼓非常近以至于会打到麦克和麦克架的话，就尝试抓住每个镲片沿它的座轴移动。如果没有办法避免镲片打到桶鼓麦架或麦，万不得已你现在不得不问一些鼓手通常不喜欢听到的问题 “请把镲片往高提一提试试”。一个有经验的演奏者如果觉得有必要，会使其适应需要。
CYMBAL (OVERHEADS) MICS/PLACEMENT
镲（OVERHEADS）麦克及其摆位
Condenser mics are the norm. I like AGK 414s, but most any good condenser pair will do the trick. Neuman, Telefunken, and AKG are typical brands of this era as well as past eras. Avoid mics with a built-in 2kHz bump (build up) like the SM 57; this is one application where this mic is not recommended. If you must use the SM 57, when “dialing in the sound,” use the EQ to roll out a few dB at 2kHz or so.
电容麦是标准的选择。我喜欢AGK C414，但是几乎所有好的一对电容麦克都能胜任。Neuman, Telefunken,和AKG都是这个时代以及过去时代的标志性厂牌。避免选择那些像SM 57那样，本身在2KHz有突出和提升的麦克；这个麦克不推荐用在这里。如果非要用SM 57，那么在“拨入信号”的时候，用EQ把2KHz左右稍稍拉下几dB。
When positioning the two overhead mics, be very careful that they don’t fall down as the booms will generally be extended to full length. Secure the mic stands as soon as you’ve set the position.
在给两支OH（overhead）麦摆位的时候，你要非常小心以防麦架臂由于被拉伸到最长而摔倒。在你摆位的同时就要确保麦架的稳定。
As mentioned previously, I look at drums from the audience perspective (floor tom at the left, hi-hat on the right). In this case, position the left overhead boom mic between the center of the ride and crash cymbal about 2–3 feet above. Start by pointing the mic straight down.
事先说明，我从听众的视角来看鼓（落地桶鼓在左，踩镲在右）。既然这样，就要把左侧的OH麦架臂固定在叮叮镲和碎音镲的中间大约2–3英尺高的地方。然后先把麦克垂直指向下方。
Position the right overhead over the crash on the right side, with the same basic placement. If there’s more than one crash on this side, go between the cymbals as on the opposite side. Position the mic stand on the floor near the hi-hat mic stand.
把右侧OH麦架臂固定在碎音镲右缘上方作为基础位置。如果有不止一个镲在这边，那就再往另一边的镲的方向移动些。把麦克架架在踩镲麦架附近的地板上。
If the drummer hits the crash cymbals hard, and they’re fairly loose on the cymbal stand, they will wobble and you will hear this wobble in the mics. A little wobble sounds natural, but extreme wobble will sound like the cymbal is almost canceling out during the travel when the cymbal edges get near 90º away from the mic. A possible fix is to angle the mics at about 45º in towards the center of the cymbals, but this may not totally fix the problem and is not a good position for the overheads in general. The best fix is to ask the drummer to tighten the cymbal nut to cut down on the wobble.
如果鼓手击打碎音镲很用力，并且镲在架子上都很松，那么它们会来回摆动并且你在麦克里都能听到这种摆动。小的摆动听起来会很自然，但是极端的摆动会在镲的边缘与麦克接近90º的过程中让声音听起来几乎完全抵消了。一个可行的办法是将麦克45º指向镲的中心，但是这或许不能完全解决这个问题，并且通常来说对于OH麦也不是一个好的摆位。最好的办法是问问鼓手能不能扭紧碎音镲上的螺栓以减弱镲的摆动。
If the drummer uses more than four cymbals, and if the ride cymbal is used instead of the hi-hat as the constant time keeper, you might need to add another mic for the ride cymbal if it’s not loud enough in the overhead mic compared to the crash cymbals. Again, a small diaphragm condenser works well.
如果鼓手使用了至少4个镲，并且鼓手习惯用叮叮镲来代替踩镲来作为“constant time keeper”（应该是节奏控制）的话，你可能需要加另外一个专门录叮叮镲的麦克，如果它在OH麦中的声音和碎音镲相比不够大的话。同样，小振膜麦克可以做的很好。
Position the mic above the center of the ride cymbal, looking straight down and about a foot above. Move in half way between the center and the inner edge of the ride if you want more “ping” (drum stick sound).
把麦克竖直朝下固定在叮叮镲中心上方1英尺的位置， 向内移动1/2镲帽的距离如果你希望得到更多的“PING”声（鼓槌击打的声音）。
Which is the main overhead mic? Typically the one with the ride cymbal, so let’s say left overhead. Take a piece of string (or a mic cable, whatever) and hold it against the center of the main overhead mic diaphragm. Put the other end of the string in the center of the snare head. Now that you know the distance of the left overhead in relation to the center of the snare head, use that same measurement for the right overhead mic, meaning move the right overhead mic up/down, or slightly change where the cymbal is miked, to achieve the exact same length to the center of the snare head. This will minimize snare comb filtering/phase cancellation in the overhead mics.
哪一个是主OH麦？通常来说是叮叮镲的那一支，所以我们就说是左面的一支。拿来一段细绳（或者是麦克线什么的）并将其拉直以测量主OH麦振膜中心到军鼓鼓皮中心的距离，用同样的方法测出右侧OH麦到军鼓距离。这就意味着要把右侧OH麦的高度提升或降低，或者轻微的移动拾音的位置，以达到两OH麦振膜到军鼓鼓皮中心的距离是完全相同的距离。这会将军鼓在OH麦中的梳状滤波/相位消除效应降到最小。
ROOM MICS/PLACEMENT
房间麦及其摆位
This area is tricky. Room frequency “build-ups” and “suck outs” have a major influence. Condensers are the typical choice but each room sounds different, so try every mic that’s left over. It’s a good idea to use two of the same model with the overheads.
这个区域是比较复杂的。房间频率的“驻波”和“吸声”对拾音有较大的影响。电容麦克是标准的选择但是每个房间的声音特性都不同，所以要尝试剩下的每一支麦克。用两支和OH麦相同型号的麦克是一个不错的主意。
You might think an omni pickup pattern would work well, meaning the condenser mics would hear behind as well as the sides. Maybe, but I use cardioid most of the time. Start by placing the mics about 15 feet in front of the drums, about four feet above the floor. Spread apart the mics around eight feet or more, using the bass drum as center.
你或许会认为全指向的拾音制式会更适合，这就意味着电容麦会拾到后面和旁边的声音。或许可以，但是我大多数情况下会使用心型指向。首先把麦克固定在鼓前方大约15英尺，距地板高度大约4英尺的位置。然后把两个麦克以底鼓位置为中心，分展开大约8英尺或更多。
This is what works for me in my studio, but every studio will have “sweet spots” so experiment! Even a “semi-dead room” might like room mics.
这就是我在自己录音棚里的办法，但是每个录音棚都会有拾音的“皇帝位”，所以还是试验吧！即使一个“半消声室”可能也能用房间麦克。
It is possible to use more room mics, especially if the room is big with high ceilings. If this is the case, for high distant miking, try the Neumann M50 (nickel capsule is best) which is designed to be a room mic. This mic sounds bright even when distant from the sound source. It’s a hard mic to find, but it’s great for this application.
有可能会用到更多的房间麦克，特别是如果是天花板很高的大房间。如果是这种情况，为了远距离高处拾音，可以尝试一下专门设计房间麦的Neumann M50（镀镍振膜最好）。即使远离声源，这个麦克也能声音明亮。这个麦克很难找到，但是这个用途上是非常棒的。
Typical Drum Recording Rooms
典型的录鼓房间
There are three main categories of studio recording rooms.
这里有三种录音间的主要类型。
The Dead Room: This has major padding on the walls and ceiling, with a carpet floor. There are very few “live surfaces,” so this type of room does not generate natural reverberations as the surfaces absorb the sound. The 1970s pop and R&B (rhythm and blues) era favored this type of drum sound.
消声室：它有非常专业的填充物在墙壁和天花板上，还有地毯。这里几乎没有“live surfaces”（也就是有效反射面），所以这种类型的房间由于表面吸音并不会产生自然的混响。这种类型房间的鼓声在70年代的流行和R&B类的录音中比较受偏爱。
Semi Open-Sounding Room: This has some reflective surfaces, such as wood wall panels and a hard wood floor, with a few “soft spots” like a carpet border around the hardwood floor or padding on a few walls. The ceiling may have wood reflectors, or a few boxes filled with environmentally-safe fiberglass material may hang from the ceiling to stop any ringing caused by the ceiling. If you can only have one big room in your studio, this is the best option. You can change it into a dead room by adding foam, packing blankets, or commercial frequency absorbers. For any music other than hard rock, this room style is a happy medium.
半混响室：这种房间有一些反射面，比如木制墙裙和硬木地板，和一些类似和硬木地板相接的地毯或者墙上少数的吸音物的“柔软处”。天花板上可能会有木制反射面，或者有一些用环保玻璃纤维填充的小盒子悬挂在天花板上以防止由于天花板带来的任何响声。如果你的录音棚只能有一个大房间，这种类型是最好的选择。你可以通过增加泡沫海棉，添加毛毯或者频率吸音的产品把它变成消声室。这个类型的房间是个折衷方案，除了硬摇滚适合所有的音乐类型。
Open-Sounding Room: This type of room is usually quite large and is the key to a big exploding drum sound. The surfaces are typically cement and plaster; non-reflective surfaces are rare. When recording drums in an open-sounding room, you’ll generally use room mics (mics distant from the sound source), so it is best to put only the drums in this room and all other instrument amps in other rooms for isolation.
混响室：这种类型的房间通常很大而且是使鼓声爆发的关键。反射面基本是水泥和石灰；非反射面很少。当在混响室里录鼓的时候，你通常都要用房间麦克（麦克要远离声源），所以为了隔音最好把鼓单独放在这个房间里，其它乐器放大器在其它房间。
Postscript:
Jay Graydon is a Los Angeles-based songwriter, recording artist, guitarist, producer, arranger, engineer, and more, with two Grammy awards and 12 top five Grammy finalist nominations, including the prestigious title “Producer of the Year” and others such as “Record Engineer of the Year.” Some of Jay’s greatest hits include the Grammy-winning “Turn Your Love Around” with George Benson, many songs co-written with David Foster (e.g., the Grammy-winning “After The Love Has Gone” — a huge #1 hit with Earth, Wind & Fire), and several hits with Al Jarreau, DeBarge, and Manhattan Transfer, to name a few.
房间麦及其摆位
This area is tricky. Room frequency “build-ups” and “suck outs” have a major influence. Condensers are the typical choice but each room sounds different, so try every mic that’s left over. It’s a good idea to use two of the same model with the overheads.
这个区域是比较复杂的。房间频率的“驻波”和“吸声”对拾音有较大的影响。电容麦克是标准的选择但是每个房间的声音特性都不同，所以要尝试剩下的每一支麦克。用两支和OH麦相同型号的麦克是一个不错的主意。
You might think an omni pickup pattern would work well, meaning the condenser mics would hear behind as well as the sides. Maybe, but I use cardioid most of the time. Start by placing the mics about 15 feet in front of the drums, about four feet above the floor. Spread apart the mics around eight feet or more, using the bass drum as center.
你或许会认为全指向的拾音制式会更适合，这就意味着电容麦会拾到后面和旁边的声音。或许可以，但是我大多数情况下会使用心型指向。首先把麦克固定在鼓前方大约15英尺，距地板高度大约4英尺的位置。然后把两个麦克以底鼓位置为中心，分展开大约8英尺或更多。
This is what works for me in my studio, but every studio will have “sweet spots” so experiment! Even a “semi-dead room” might like room mics.
这就是我在自己录音棚里的办法，但是每个录音棚都会有拾音的“皇帝位”，所以还是试验吧！即使一个“半消声室”可能也能用房间麦克。
It is possible to use more room mics, especially if the room is big with high ceilings. If this is the case, for high distant miking, try the Neumann M50 (nickel capsule is best) which is designed to be a room mic. This mic sounds bright even when distant from the sound source. It’s a hard mic to find, but it’s great for this application.
有可能会用到更多的房间麦克，特别是如果是天花板很高的大房间。如果是这种情况，为了远距离高处拾音，可以尝试一下专门设计房间麦的Neumann M50（镀镍振膜最好）。即使远离声源，这个麦克也能声音明亮。这个麦克很难找到，但是这个用途上是非常棒的。
Typical Drum Recording Rooms
典型的录鼓房间
There are three main categories of studio recording rooms.
这里有三种录音间的主要类型。
The Dead Room: This has major padding on the walls and ceiling, with a carpet floor. There are very few “live surfaces,” so this type of room does not generate natural reverberations as the surfaces absorb the sound. The 1970s pop and R&B (rhythm and blues) era favored this type of drum sound.
消声室：它有非常专业的填充物在墙壁和天花板上，还有地毯。这里几乎没有“live surfaces”（也就是有效反射面），所以这种类型的房间由于表面吸音并不会产生自然的混响。这种类型房间的鼓声在70年代的流行和R&B类的录音中比较受偏爱。
Semi Open-Sounding Room: This has some reflective surfaces, such as wood wall panels and a hard wood floor, with a few “soft spots” like a carpet border around the hardwood floor or padding on a few walls. The ceiling may have wood reflectors, or a few boxes filled with environmentally-safe fiberglass material may hang from the ceiling to stop any ringing caused by the ceiling. If you can only have one big room in your studio, this is the best option. You can change it into a dead room by adding foam, packing blankets, or commercial frequency absorbers. For any music other than hard rock, this room style is a happy medium.
半混响室：这种房间有一些反射面，比如木制墙裙和硬木地板，和一些类似和硬木地板相接的地毯或者墙上少数的吸音物的“柔软处”。天花板上可能会有木制反射面，或者有一些用环保玻璃纤维填充的小盒子悬挂在天花板上以防止由于天花板带来的任何响声。如果你的录音棚只能有一个大房间，这种类型是最好的选择。你可以通过增加泡沫海棉，添加毛毯或者频率吸音的产品把它变成消声室。这个类型的房间是个折衷方案，除了硬摇滚适合所有的音乐类型。
Open-Sounding Room: This type of room is usually quite large and is the key to a big exploding drum sound. The surfaces are typically cement and plaster; non-reflective surfaces are rare. When recording drums in an open-sounding room, you’ll generally use room mics (mics distant from the sound source), so it is best to put only the drums in this room and all other instrument amps in other rooms for isolation.
混响室：这种类型的房间通常很大而且是使鼓声爆发的关键。反射面基本是水泥和石灰；非反射面很少。当在混响室里录鼓的时候，你通常都要用房间麦克（麦克要远离声源），所以为了隔音最好把鼓单独放在这个房间里，其它乐器放大器在其它房间。
Postscript:
Jay Graydon is a Los Angeles-based songwriter, recording artist, guitarist, producer, arranger, engineer, and more, with two Grammy awards and 12 top five Grammy finalist nominations, including the prestigious title “Producer of the Year” and others such as “Record Engineer of the Year.” Some of Jay’s greatest hits include the Grammy-winning “Turn Your Love Around” with George Benson, many songs co-written with David Foster (e.g., the Grammy-winning “After The Love Has Gone” — a huge #1 hit with Earth, Wind & Fire), and several hits with Al Jarreau, DeBarge, and Manhattan Transfer, to name a few.
Floating floor construction. Note how the spacers (“U-Boats” by Auralex) are placed to isolate the floor support boards from the “real” floor. (Photo by Jeff D. Szymanski)
浮动地板结构。注意隔离物(“U-Boats” by Auralex)是如何放置的以隔离地板支撑板材和真正的“地面”的(Photo by Jeff D. Szymanski)
With the tom set up vertically, sound waves hit the floor and bounce back into the bottom head. Angling a tom slightly causes sound waves to scatter, and diffuses them.
落地桶鼓垂直摆放，声波碰到地板反射回底鼓皮。轻微调节落地桶鼓的摆放角度使声波散射和漫反射。
This EQ shows a +2.1dB boost at 115Hz, and a +2.1dB boost at 10.5kHz. There’s also a slight boost at 3.7kHz, and a very slight dip at 410Hz to reduce a bit of room “mud.”
这个EQ展示的是一个115Hz +2.1dB，10.5KHz +2.1dB。还有个轻微的增益在3.7KHz，并且在410Hz作非常少的衰减以减少一点房间的“泥泞”。
Typical setup when miking the top and bottom of a snare drum.
在用顶麦和底麦录制军鼓时的标准设置。
Miking a hi-hat.
踩镲的拾音。
[ 本帖最后由 margindge 于 07-2-21 19:08 编辑 ]
靠 大师啊～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～录音加EQ调节这里有没有更详细的
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