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Originally Posted by mtstudi@pacbell  I agree with other posts. Why no btm snare mic? You say because you want a modern sound, yet over doing it on room mics, which is kind of dated. I believe you also said the space was small, another reason maybe just to have a mono room only. A bottom snare can give you a crack, top boost with less EQ. www.bluethumbproductions.com |
It has nothing to do with a modern sound. We're not going for a particular sound in terms of modern versus vintage. How modern or vintage the aesthetic of the production becomes will directly correspond to the kits recorded (which vary quite a bit in timbre.)
Let me explain my intentions for the far mono room mic and give some dimensions on the room. The far mono mic (if used, will be at least a floor (maybe 2) up or down in the tower), probably squashed to death and only used for effect by itself. The top room (our first choice) is about a 20 ft octagon with about a 25 ft ceiling, not too big but definitely has some depth, mainly due to the ceiling height. The other room is about 13x15 and another is quite a bit larger than the top of the tower (there's just something about this room that rubs me wrong acoustically, it's just a little too in your face.)
Let's put it this way, this will probably be the first recording in a long time that I've decided not to include a snare side mic. Simply because I've never found a use for it. And I'd much rather be able to have a varied room sound for effect. Still, I guess I'll appease you all by including one. What would you all recommend, based on the mics at my disposal? I tend to use an LDC on snare side, maybe that's why I never favor it?
Great, now I'm really considering the snare side mic...
