Recorderman Drum Technique: Phase-Perfect Overhead Setup

The Recorderman drum technique emerged from online recording forums as a refined approach to minimal drum miking. Building on concepts similar to the Glyn Johns method, Recorderman adds mathematical precision by requiring equal distances from both snare and kick drum to each overhead microphone. This dual-reference measurement ensures phase coherence across the most critical low-frequency elements.

The Mathematical Foundation

Traditional overhead placement often creates phase problems between kick drum, snare, and overhead microphones. Sound travels at approximately one foot per millisecond, so even small distance differences create timing offsets that cause frequency cancellation. The Recorderman technique eliminates this issue through geometric precision.

Each overhead microphone must satisfy two distance requirements simultaneously: equal distance to the snare drum center and equal distance to the kick drum beater. This constraint limits placement options but guarantees optimal phase alignment for the two most important drum elements.

The technique acknowledges that perfect phase alignment across all drums is geometrically impossible with only two microphones. By prioritizing kick and snare—the rhythmic foundation—the approach maximizes impact where it matters most while accepting minor phase variations on less critical elements.

Standard Recorderman Setup

The first overhead positions above the snare drum, looking down at an angle toward the kick drum. Typical height places the capsule roughly 32 inches from both the snare center and the kick beater impact point. A measuring string stretched between these two points helps locate the exact position.

The second overhead positions over the drummer’s right shoulder (for right-handed players), aimed across the kit toward the floor tom. This microphone also measures 32 inches from both snare center and kick beater, creating a triangulated position behind and above the drummer.

The specific 32-inch distance is not mandatory—other distances work as long as both microphones match exactly. Shorter distances emphasize direct sound over room ambience, while longer distances capture more space. The key is maintaining identical measurements to both reference points.

Measurement Procedure

Accurate measurement requires patience and method. Begin by identifying the snare drum center—the geometric middle of the drum head where the stick primarily strikes. Mark this point mentally or with temporary tape.

Locate the kick drum beater impact point—where the beater contacts the batter head during normal playing. This point serves as the second reference.

Cut a string or use a cable at twice the desired microphone distance (for example, 64 inches for 32-inch placement). Hold one end at the snare center and walk the string to the kick impact point while keeping it taut. The string’s midpoint indicates where the microphone capsule should sit for the first overhead.

Repeat for the second overhead. The shoulder position creates an arc where both distance requirements can be satisfied. Finding this point may require some searching, but it exists geometrically.

Sound Characteristics

The Recorderman technique produces a distinctive stereo image. The over-snare microphone captures a relatively centered perspective, while the over-shoulder microphone creates width through its offset position. Hi-hat appears prominently in the shoulder microphone, while floor tom anchors the opposite side.

Kick drum reproduction benefits most from the phase alignment. Low frequencies that would cancel in poorly positioned setups instead combine constructively, creating solid fundamental weight without separate kick microphone support. Many engineers find Recorderman overheads sufficient for kick drum capture in quieter musical styles.

The snare similarly benefits from aligned phase relationships. Attack and body combine cleanly between the two microphones, producing focused backbeat presence. The stereo spread comes from tonal differences between microphone positions rather than timing-based width.

When to Add Close Microphones

Pure Recorderman recordings using only the two overhead microphones work well for acoustic music, jazz, and singer-songwriter applications. The natural balance and phase coherence create drums that sit effortlessly in sparse arrangements.

Rock, pop, and heavier styles typically benefit from supplemental kick and snare microphones. These additions provide extra attack and independent level control while the overheads contribute ambience and cymbal detail. Phase checking between close microphones and overheads remains important even with Recorderman’s optimized positions.

Hi-hat close microphones rarely necessary with Recorderman due to the shoulder microphone’s proximity. However, sessions requiring extreme hi-hat control may add a dedicated microphone with appropriate high-pass filtering to prevent low-frequency buildup.

Variations and Adaptations

Different kit configurations may require adjusted measurement references. Extended or compact kits change the geometric relationships, potentially requiring longer or shorter base distances. Maintaining equal measurements to kick and snare remains the priority regardless of specific distances.

Microphone selection affects the technique’s character. Small-diaphragm condensers provide detailed high-frequency capture, while large-diaphragm models or ribbons create warmer, smoother results. Matched pairs ensure consistent stereo imaging.

Room acoustics influence optimal distance choices. Shorter distances reduce room contribution in problematic spaces, while excellent-sounding rooms reward longer distances that capture natural ambience. The phase alignment advantages persist regardless of distance chosen.