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Pictures Of Mic'ed Up Drum Kits In The Studio Condenser Microphones
Old 5th April 2018
  #4621
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cjogo's Avatar
3 mic -- standard

U 89 on Omni OH

D 3600 on kick

AT pencil on snare
Attached Thumbnails
Pictures Of Mic'ed Up Drum Kits In The Studio-mike-shannon.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-_mg_9114.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-john-5.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-_mg_9107.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-overall.jpg  


Last edited by cjogo; 6th April 2018 at 10:17 AM..
Old 5th April 2018
  #4622
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andychamp's Avatar
Someone‘s stuck in a time loop...
Old 6th April 2018
  #4623
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cjogo's Avatar
We are definitely in the "old school" of DAW -- just feet out of the analog world ...

Last edited by cjogo; 8th April 2018 at 08:20 PM..
Old 14th April 2018
  #4624
Gear Maniac
 

Here ya go..

Quote:
Originally Posted by 127Riot View Post
I'd love to hear a sound sample of that set up.
Attached Files

Song 1_1.mp3 (6.94 MB, 3042 views)

Old 14th April 2018
  #4625
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Quote:
Originally Posted by 1960strat View Post
Here ya go..
The Stager sounds great!
Old 14th April 2018
  #4626
Steven Antoniazzi
 
127Riot's Avatar
 

Sounds good!

Quote:
Originally Posted by 1960strat View Post
Here ya go..
Kick sounds huge, Thanks for sharing!
Old 15th April 2018
  #4627
Gear Maniac
 

Thanks I should add there is no processing on these tracks except hitting 1”tape. Also the Stager isn’t in this (tape machine channel issue) so the kick is all the Kel on the batter head. First time I tried that and I dig it.


Quote:
Originally Posted by 127Riot View Post
Kick sounds huge, Thanks for sharing!
Old 16th April 2018
  #4628
Steven Antoniazzi
 
127Riot's Avatar
 

Raw is good

Quote:
Originally Posted by 1960strat View Post
Thanks I should add there is no processing on these tracks except hitting 1”tape. Also the Stager isn’t in this (tape machine channel issue) so the kick is all the Kel on the batter head. First time I tried that and I dig it.
Yes you can tell they're raw tracks but that's how I wanted to hear them. Sounds like a great starting point I had an otari MX-70 1 inch 16 track about 12 years back. It was lofi cool. Great for indie rock.

Here's a quick video I did last night of a rock type Riff I've been playing with. If you get time check it out.

YouTube

Steve
Old 21st April 2018
  #4629
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thismercifulfate's Avatar
I had a wonderful drum tracking session earlier this week at B-Side Studio in Portland with one of my favorite drummers Micah Hummel. With a killer selection of drums, snares, cymbals,enough time and a client eager to really dial in tones we did just that. Here’s my signal chain list:

Kick - EV RE20 - BAE 1084 - Purple Action 1
Sub - Yamaha Subkick - API 1
SnT - Granelli Labs 57 - BAE 1073#1 - WA-EQP - Purple Action 2
SnB - Beyer M201 - BAE 1073#2
Hats - SM7B - Trident 20
Crush - R121 - AMS 1073LB#1 - Chandler TG1
T1 - Audio-Technica AT4033 - UA 610
T1 - AKG C414B-ULS - Calrec 1061#2
T2 - AKG C414B-ULS - Calrec 1061#2
OH - Regensburg Dom - AMS 1073LB#2 - API 2500
Rooms - Coles 4038s - BAE312s - Urei 1176s
Copper - Copperphone - API 2
Mono - NeumannCMV563 w/M8 - inline pad - V72a - 1176
Ride - Neumann KM184 - Trident 16

All running into a BURL Mothership into ProTools HDX12. Check out the CMV563 knee mic, cooperphone and the full kit clips (no plugins - just levels and panning).
Attached Thumbnails
Pictures Of Mic'ed Up Drum Kits In The Studio-9cbed257-854c-46e2-8ca2-03f99ef44220.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-9ab020a2-8aeb-4fa1-884a-4a05e5b82f46.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-a7e122ee-c91f-4691-a22a-5afad3bcaa9d.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-27393a98-ce4c-4d32-98af-17e24fcafdd1.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-2f0c8109-92c7-44cd-8057-38006a70318d.jpg  

Pictures Of Mic'ed Up Drum Kits In The Studio-98d3d09a-9e47-49e7-855b-154c1b18a4ac.jpg  
Attached Files

CMV563knee.mp3 (1.07 MB, 2144 views)

copperphoneknee.mp3 (1.07 MB, 2102 views)

tempestdrums.mp3 (1.79 MB, 2198 views)


Last edited by thismercifulfate; 22nd April 2018 at 12:33 AM..
Old 21st April 2018
  #4630
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roger's Avatar
 

Quote:
Originally Posted by thismercifulfate View Post
I had a wonderful drum tracking session earlier this week at B-Side Studio in Portland with one of my favorite drummers Micah Hummel. With a killer selection of drums, snares, cymbals,enough time and a client eager to really dial in tones we did just that. Here’s my signal chain list:

Kick - EV RE20 - BAE 1084 - Purple Action 1
Sub - Yamaha Subkick - API 1
SnT - Granelli Labs 57 - BAE 1073#1 - WA-EQP - Purple Action 2
SnB - Beyer M201 - BAE 1073#2
Hats - SM7B - Trident 20
Crush - R121 - AMS 1073LB#1 - Chandler TG1
T1 - Audio-Technica AT4033 - Trident 18
T1 - AKG C414B-ULS - Calrec 1061#2
T2 - AKG C414B-ULS - Calrec 1061#2
OH - Regensburg Dom - AMS 1073LB#2 - API 2500
Rooms - Coles 4038s - BAE312s - Urei 1176s
Copper - Copperphone - API 2
Mono - NeumannCMV563 w/M8 - inline pad - V72a - 1176
Ride - Neumann KM184 - Trident 16

All running into a BURL Mothership into ProTooks HDX12. Check out the CMV563 knee mic, cooperphone and the full kit clips (no plugins - just levels and panning).
Fun times! And sounds sick man!
Old 21st April 2018
  #4631
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by thismercifulfate View Post
I had a wonderful drum tracking session earlier this week at B-Side Studio in Portland with one of my favorite drummers Micah Hummel. With a killer selection of drums, snares, cymbals,enough time and a client eager to really dial in tones we did just that. Here’s my signal chain list:

Kick - EV RE20 - BAE 1084 - Purple Action 1
Sub - Yamaha Subkick - API 1
SnT - Granelli Labs 57 - BAE 1073#1 - WA-EQP - Purple Action 2
SnB - Beyer M201 - BAE 1073#2
Hats - SM7B - Trident 20
Crush - R121 - AMS 1073LB#1 - Chandler TG1
T1 - Audio-Technica AT4033 - Trident 18
T1 - AKG C414B-ULS - Calrec 1061#2
T2 - AKG C414B-ULS - Calrec 1061#2
OH - Regensburg Dom - AMS 1073LB#2 - API 2500
Rooms - Coles 4038s - BAE312s - Urei 1176s
Copper - Copperphone - API 2
Mono - NeumannCMV563 w/M8 - inline pad - V72a - 1176
Ride - Neumann KM184 - Trident 16

All running into a BURL Mothership into ProTooks HDX12. Check out the CMV563 knee mic, cooperphone and the full kit clips (no plugins - just levels and panning).
This sounds great!

Do you have issues with the window behind the drummer giving bad reflections? I can't quite get a sense of distance he is from it from the pictures.
Old 21st April 2018
  #4632
Lives for gear
 
roger's Avatar
 

Quote:
Originally Posted by Drumsound View Post
This sounds great!

Do you have issues with the window behind the drummer giving bad reflections? I can't quite get a sense of distance he is from it from the pictures.
Does it SOUND like there are issues?!
Haha!
Old 21st April 2018
  #4633
Gear Maniac
 

That cmv563 - my jam right there!
Old 21st April 2018
  #4634
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by roger View Post
Does it SOUND like there are issues?!
Haha!
I did laugh at that. I guess I really meant, are you doing things to make sure it isn't a problem?
Old 22nd April 2018
  #4635
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thismercifulfate's Avatar
Quote:
Originally Posted by Drumsound View Post
This sounds great!

Do you have issues with the window behind the drummer giving bad reflections? I can't quite get a sense of distance he is from it from the pictures.
Thank you! In other studios I typically like to control the space behind the kit with gobos, but in this case it would have blocked my view, and the drummer needed to see the percussionist in one of the booths. His back was 8-9 feet away from the glass, so definitely not close enough to give me any issues. Also, using a mono overhead helps.
Old 22nd April 2018
  #4636
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by thismercifulfate View Post
Thank you! In other studios I typically like to control the space behind the kit with gobos, but in this case it would have blocked my view, and the drummer needed to see the percussionist in one of the booths. His back was 8-9 feet away from the glass, so definitely not close enough to give me any issues. Also, using a mono overhead helps.
I was wondering about the mono overhead.
Old 22nd April 2018
  #4637
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thismercifulfate's Avatar
Quote:
Originally Posted by Drumsound View Post
I was wondering about the mono overhead.
I've been loving mono overhead on a lot of material lately. As you can hear you get a very powerful "core" down the center. The room mics still provide good stereo information. Stereo overheads tend to make panned toms harder to "locate", because they get into both mics and they get directionally washed out in the stereo image. With a mono overhead, the close mics pop a lot more when you pan them.
Old 22nd April 2018
  #4638
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by thismercifulfate View Post
I've been loving mono overhead on a lot of material lately. As you can hear you get a very powerful "core" down the center. The room mics still provide good stereo information. Stereo overheads tend to make panned toms harder to "locate", because they get into both mics and they get directionally washed out in the stereo image. With a mono overhead, the close mics pop a lot more when you pan them.
I haven't done mono overhead in a while. When I was setting up for Friday's session I almost went mono. I think I'll swap the stereo pair out for Tuesday.
Old 22nd April 2018
  #4639
Lives for gear
 

Quote:
Originally Posted by Drumsound View Post
I haven't done mono overhead in a while. When I was setting up for Friday's session I almost went mono. I think I'll swap the stereo pair out for Tuesday.
Interestingly enough, as a drummer/audio engineer, I only do mono drums these days. I haven’t really found the need in the past couple of years to do stereo. A lot of that came out of the guys I use to mix saying that they were collapsing (or even dropping) stereo overheads/rooms. But, to each his/her own. I love mono drums!
Old 22nd April 2018
  #4640
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by Providence View Post
Interestingly enough, as a drummer/audio engineer, I only do mono drums these days. I haven’t really found the need in the past couple of years to do stereo. A lot of that came out of the guys I use to mix saying that they were collapsing (or even dropping) stereo overheads/rooms. But, to each his/her own. I love mono drums!
Unless I'm going for something specific I like the drums to have some spread. I'll pan the toms and I like a stereo room even if I have mono OH. I like drums to have a little "breath."

Though the last song my own band released (learned, recorded, and mixed in 2 hours) has mono drums that I really dig.

Listen Here
Old 22nd April 2018
  #4641
Lives for gear
 

Quote:
Originally Posted by Drumsound View Post
Unless I'm going for something specific I like the drums to have some spread. I'll pan the toms and I like a stereo room even if I have mono OH. I like drums to have a little "breath."
Totally! Really if I do stereo these days it’s only on the rooms. Which, really for the music I do (experimental/indie/singer/songwriter type stuff) I consider to almost be like a natural “verb”. I’m not locked into mono though. It’s just what I find is needed 95% of the time for my music. Just curious, what type of music are you recording the most of?
Old 22nd April 2018
  #4642
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by Providence View Post
Totally! Really if I do stereo these days it’s only on the rooms. Which, really for the music I do (experimental/indie/singer/songwriter type stuff) I consider to almost be like a natural “verb”. I’m not locked into mono though. It’s just what I find is needed 95% of the time for my music. Just curious, what type of music are you recording the most of?
I do a lot of variations of rock music. A good amount of singer songwriter things, bands, what have you. This week I have small groups that aren't bands, but are members of a music business class. Friday we worked on a 2000's ish rock song and a mid tempo Ben Folds type piano tune. I have no idea what the other groups will come up with. I do a lot of acoustic stuff, and sometimes get to have fun with more experimental things. Its basically anything that comes through the door.
Old 23rd April 2018
  #4643
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druhms's Avatar
Quote:
Originally Posted by thismercifulfate View Post
I had a wonderful drum tracking session earlier this week at B-Side Studio in Portland with one of my favorite drummers Micah Hummel. With a killer selection of drums, snares, cymbals,enough time and a client eager to really dial in tones we did just that. Here’s my signal chain list:

Kick - EV RE20 - BAE 1084 - Purple Action 1
Sub - Yamaha Subkick - API 1
SnT - Granelli Labs 57 - BAE 1073#1 - WA-EQP - Purple Action 2
SnB - Beyer M201 - BAE 1073#2
Hats - SM7B - Trident 20
Crush - R121 - AMS 1073LB#1 - Chandler TG1
T1 - Audio-Technica AT4033 - UA 610
T1 - AKG C414B-ULS - Calrec 1061#2
T2 - AKG C414B-ULS - Calrec 1061#2
OH - Regensburg Dom - AMS 1073LB#2 - API 2500
Rooms - Coles 4038s - BAE312s - Urei 1176s
Copper - Copperphone - API 2
Mono - NeumannCMV563 w/M8 - inline pad - V72a - 1176
Ride - Neumann KM184 - Trident 16

All running into a BURL Mothership into ProTools HDX12. Check out the CMV563 knee mic, cooperphone and the full kit clips (no plugins - just levels and panning).
I dig that. Kudos on the setup. If you hit a good player, good tuned drums, .....can’t go wrong. I like copperphone overcthe kick. That’s a good vibe.
Old 23rd April 2018
  #4644
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Drumsound View Post
I haven't done mono overhead in a while.

I haven't done stereo overhead in, well, I can't remember. But I'm a bass player. And if I have to be mono...
Old 24th April 2018
  #4645
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by Drumsound View Post
I haven't done mono overhead in a while. When I was setting up for Friday's session I almost went mono. I think I'll swap the stereo pair out for Tuesday.

Quote:
Originally Posted by Brent Hahn View Post
I haven't done stereo overhead in, well, I can't remember. But I'm a bass player. And if I have to be mono...
I set 'em up and he knocks 'em down.

Seriously, I know you dig the mono OH thing. Do pan toms? What's your stance on room mics?
Old 24th April 2018
  #4646
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Drumsound View Post
Seriously, I know you dig the mono OH thing.
I do. In terms of the phase relationship between the near-snare mic and the far-snare mic (aka the overhead), I feel like there's only one best spot. Two mics can't both be in it.

Quote:
Originally Posted by Drumsound View Post
Do pan toms?
If it's my project, I hardly ever even set them up. I did do something recently where I decided after the fact that I wanted to have a floor tom beef up a crescendo, but I overdubbed that out in the hallway with a mic about 12 feet away. Pretty sure I mixed it up the middle, though.

Quote:
What's your stance on room mics?
In general, I'm in favor and I like stereo. But my current room's so small and dead that room mics for drums are pretty pointless. I say "for drums" because with loud guitars a far mic can work, and using the room in a chamber-like fashion can be useful on the right material, although it sounds nothing like what you'd normally think of as a chamber.
Old 28th April 2018
  #4647
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druhms's Avatar
Are you guys tracking drums that are going to end up running the gauntlet of studios, “producers”, various tracking touch ups, and eventually mixed by whoever somewhere? How many of you guys are working that side of the biz? Cuz if I process the tracking too hard, I end up causing problems down the assembly line. Don’t get me wrong, the above were very good sounding drums. If I knew the whole record was staying in house, I completely get the reasoning. But knowing a lot of work will continue on without me, I can’t risk committing solid sounds. In fact, I get get calls/emails thanking me for not stepping on the drums.
Just asking for some insight to other people’s experience in such topics.
Thanks!
JJ Crews
Boogie Tracks — Boogie Tracks Recording Studio
Old 28th April 2018
  #4648
Lives for gear
 

Quote:
Originally Posted by druhms View Post
Are you guys tracking drums that are going to end up running the gauntlet of studios, “producers”, various tracking touch ups, and eventually mixed by whoever somewhere? How many of you guys are working that side of the biz? Cuz if I process the tracking too hard, I end up causing problems down the assembly line. Don’t get me wrong, the above were very good sounding drums. If I knew the whole record was staying in house, I completely get the reasoning. But knowing a lot of work will continue on without me, I can’t risk committing solid sounds. In fact, I get get calls/emails thanking me for not stepping on the drums.
Just asking for some insight to other people’s experience in such topics.
Thanks!
JJ Crews
Boogie Tracks — Boogie Tracks Recording Studio
That’s odd because I have the complete opposite experience. Usually I decide on as much “finished” sound as I hear possible with the track. I usually get mix engineers and guys praising me later for helping them commit with a direction of a song.
Old 28th April 2018
  #4649
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thismercifulfate's Avatar
In my case the client is going to mix the tracks himself itb, and he provided almost finished backing tracks to give us the musical context. So running the gamut was the best thing we could do.

As someone who is often sent tracks to mix, the times I hate when a lot of processing was used on the way down on tracks is when some newbie engineer was at the helm. You can clearly hear major problems and a lot of time is spent trying to salvage the tracks, or you just end up sample replacing. But when I get professionally recorded tracks, it’s a joy to mix and it goes way faster when they commit to tones rather than recording good-sounding but flat, unprocessed tracks. My philosophy is the less plugins I have to use, the better. And I mix exclusively ITB! But the more hardware I run on the front-end, the closer I am to a finished drum sound, and instead of having 3-4 plugins on each drum channel plus parallel comp and a bunch of bus processing and sample layering etc... with tracks like the ones I posted I might have 1 or 2 plugins on a few tracks and a couple on the drum bus. But otherwise I can simply move faders to dial in the sounds to a great extent.

If I’m tracking drums for a really big project that I won’t mix, I’ll still run a lot of analog processing, but I may just back off the compression on the knee and room mics to give the mixer some flexibility. I’ve so far never gotten any complaints about my drum tracks, except once from a novice mixer who all but destroyed them in his ‘mix’.
Old 29th April 2018
  #4650
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rasmus's Avatar
Recorded a beautiful Ludwig in gold sparkle the other day...
Sizes 20/14/12
OH - Beyer MC930
Kick Out - U87
Kick In - AKG D200E
Snare Top - Beyer M201
Snare Bottom - MD 441
Hat - Revox 3500
Floor - MD 421
Rack - MD 408
Room - 2x Bumblebee RM5
Attached Thumbnails
Pictures Of Mic'ed Up Drum Kits In The Studio-_dsc0078.jpg  

Last edited by rasmus; 1st May 2018 at 09:50 PM..
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