Quote:
Originally Posted by dbbubba  I once did a metal project where Metalblade Records shipped in some engineer from L.A.
This guy mic'd all of the cymbals (four.)
He used my 414s and maybe some AKG 451s (I just recall the 414s flat and low.)
I liked the sound to a degree.
I tried it later, but because we had such a great room I didn't want to loose it.
The close cymbal mics require a really nice cymbal set.
I also recall Vinnie Paul of Pantera having some under the cymbal mics that some company had given him.
I did a live to radio mix of the band right when their first release came out and he wanted me to try them.
THANK GOD I had my usual SM81s up as regular OHs!
I remember that the under cymbal mics were VERY harsh and clangy! |
Yeah, I don't think I could go for the under the cymbal mics. I know that harmonics radiate differently from the cymbal when struck. The odd harmonics go horizontal and the even harmonics go vertical. So you have to strike a balance along that arc.
But distance is a factor, I'm guessing 8-12 inches will do the trick without the cymbals having a phasey, doppler effect from movement. I just need to know that dynamics will be the best choice.