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mpr3 · 10th September 2005

Oops, back on topic. stike

I had a session a while back that required two completely different sounding kits; a 2003 Yamaha Recording Custom (birch) and 1965 Rogers (it sounded like oak under the lacquer - LOUD).

The Rogers on the right was miced with EW QTC1s in a jecklin disk as OHs, SM7 on kick, Neumann 563 M7 as FOK, and Neumann U67 as room. No need for snare mic.

The Yamaha was miced with Schoeps cmc6 mk21s as spaced OHs, Royer 121s in blumlein as front center OHs, Beyer 201 on snare, Neumann km184 on HH, Subkick and SM91 on bass drum, MD421s on toms, and U67 as room.

I got your basic radar blipping SMACKfest from the Yamaha kit to cut through GTR heavy songs. The Rogers was a classic sound for the minimal indie rock songs.

Here's a more recent setup that when I brought up the faders in the CR, I got instant goodebumps (which I tried to hide from the client in order to act 'pro'... I should have rejoiced). Good drummer = little to no compression = deep beautiful sound.

Mics were: Neumann km84s (not 184s) in recorderman, Royer 121s in blumlein as front center OHs, Beyer m201 on snare, MD421 on floor tom, Beyer M88s on rack toms, SM91 IBPed with Subkick on bass drum, Senn Shotgun on drummers mouth (funny Brazilian moaned and grunted in perfect time), Neumann 582 omnis as spaced FOKs, and Neumann cmv 582 m7 room.

In the setup above, 80% of the sound came from the km84s. I like using the blumlein Royers because just a little bit of them can center the kit spacially and tonally. I tried the FOK 582s after being inspired by Wwhitman's posts and they delivered a beautiful punchy air around the kit. However, too much of them screwed with the imaging.

While I like putting up a lot of mics, especially when the channels are available *cough*1073s*cough*, I rarely use them all. I like to have options, especially when tracking time is at a premium.

10th September 2005	#311
mpr3 Gear addict Joined: Jun 2003 Location: San Clemente, CA Posts: 338	Oops, back on topic. stike I had a session a while back that required two completely different sounding kits; a 2003 Yamaha Recording Custom (birch) and 1965 Rogers (it sounded like oak under the lacquer - LOUD). The Rogers on the right was miced with EW QTC1s in a jecklin disk as OHs, SM7 on kick, Neumann 563 M7 as FOK, and Neumann U67 as room. No need for snare mic. The Yamaha was miced with Schoeps cmc6 mk21s as spaced OHs, Royer 121s in blumlein as front center OHs, Beyer 201 on snare, Neumann km184 on HH, Subkick and SM91 on bass drum, MD421s on toms, and U67 as room. I got your basic radar blipping SMACKfest from the Yamaha kit to cut through GTR heavy songs. The Rogers was a classic sound for the minimal indie rock songs. Here's a more recent setup that when I brought up the faders in the CR, I got instant goodebumps (which I tried to hide from the client in order to act 'pro'... I should have rejoiced). Good drummer = little to no compression = deep beautiful sound. Mics were: Neumann km84s (not 184s) in recorderman, Royer 121s in blumlein as front center OHs, Beyer m201 on snare, MD421 on floor tom, Beyer M88s on rack toms, SM91 IBPed with Subkick on bass drum, Senn Shotgun on drummers mouth (funny Brazilian moaned and grunted in perfect time), Neumann 582 omnis as spaced FOKs, and Neumann cmv 582 m7 room. In the setup above, 80% of the sound came from the km84s. I like using the blumlein Royers because just a little bit of them can center the kit spacially and tonally. I tried the FOK 582s after being inspired by Wwhitman's posts and they delivered a beautiful punchy air around the kit. However, too much of them screwed with the imaging. While I like putting up a lot of mics, especially when the channels are available cough1073scough, I rarely use them all. I like to have options, especially when tracking time is at a premium.