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Pictures Of Mic'ed Up Drum Kits In The Studio
Old 13th October 2020 | Show parent
  #5611
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127Riot's Avatar
 

Quote:
Originally Posted by cheu78 View Post
I’d have said the Horch RM2J or RM2F..

but since you have the flea47 and love it I might go with that.. (I’d probably get a 48, so that you could be able to do/experiment with MS too )

A pair of U67’s is quite classic, also a C24 or a pair of C12’s or 251’s, but we’re speaking about a huge investment.. and while these are great, it’s already in the diminishing return type of “upgrade” (with that kinda cash involved)..

Another great pair is the old Violet Design Amethyst Vintage.. (cardioid only)
but these are more “modern” sounding.. (than a 47style mic).
As drum room mics are spectacular.. ‘cause they have an impressive lowend.. big, clear, tight not flabby at all and very deep..
The top end is detailed and also quite clean, on the bright side but not harsh.

TLM107 or Austrian Audio OC818 might also be something for that application.

I do also like something “mellower”, like a pair of U89 or tlm170 (or 193 if cardioid only it’s enough).


Cheu
You named a lot of great mics, at this point if I’m going to go over $3.k for a pair I would just get another flea 47 vintage series. Plus I like the option of having cardioid & Omni. I’ve used a C24 and a akg 422 and They’re great but I’d like to be able to place them far apart in different locations I have an R88 great mic for room and OH but I’m looking for LDC’s, even tho the overheads I prefer in my room so far is an old pair of akg 451e’s, even over a pair of U87’s and 414’s but for stereo room I’d like to get a decent pair of LDC’s.

I’m going to try the Mojave’s with the fall back of knowing another flea 47 would make me happy. Although having a pair of Mojave at round $2.k give or take a few hundred wouldn’t bother me to leave them up all the time for stereo room where my flea 47 I have now I use for a lot of vocals and other stuff so I’d constantly be pulling one down. So that’s what’s making me want a cheaper pair of LDC’s. I just don’t want generic hyped top end. I do like the U89’s idea that you mentioned they’re flat sounding mics but I think I want to go new in hopes to get 2 mics that are relatively close in sound.

My drum room is a small “home set up” but I get some size out of it with the right mic placement and post treatment. Hardwood floors help too.

I put up a pair of the old original SM-81’s as stereo room mics for a session in addition to my flea 47 as mono room with the flea 47 up the center and smashed the 81’s with some compression hard panned left and right they didn’t sound bad at all but it’s time for something different.
Old 14th October 2020
  #5612
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andychamp's Avatar
If I may sidetrack for a moment...
How far from / close to the edge would you put a 6“ hole in a 22“ Remo Fiberskyn kick reso head?
Far enough to be able to use all tuning lugs without tearing the head. Close enough to leave enough resonating surface for the front mic to pick up.
Old 14th October 2020 | Show parent
  #5613
Quote:
Originally Posted by andychamp View Post
If I may sidetrack for a moment...
How far from / close to the edge would you put a 6“ hole in a 22“ Remo Fiberskyn kick reso head?
Far enough to be able to use all tuning lugs without tearing the head. Close enough to leave enough resonating surface for the front mic to pick up.
Dead center is safest for the stated consideration of not tearing the front head. And convenient for getting a microphone inside to grab the beater attack.

JMHO, others will vary.
Old 15th October 2020
  #5614
Lives for gear
 
jjblair's Avatar
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

BTW, I'll have a decaf mocha Craviotto, please.




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Last edited by jjblair; 15th October 2020 at 08:33 PM..
Old 15th October 2020 | Show parent
  #5615
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roger's Avatar
 

Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

Pictures Of Mic'ed Up Drum Kits In The Studio-90c040c2-9e0b-4658-b73f-b7e8e027ef11.jpg
Pictures Of Mic'ed Up Drum Kits In The Studio-4c2aefc7-69ba-4a8a-b3d1-425ef18828ca.jpg
Pictures Of Mic'ed Up Drum Kits In The Studio-3f2d31e1-6290-4201-b090-e3a4e62960b5.jpg
Pictures Of Mic'ed Up Drum Kits In The Studio-64352cea-1d4a-4aee-afe3-6f70c316e279.jpg
So siiiiiick!
Old 15th October 2020 | Show parent
  #5616
Gear Addict
 
audiogeek1's Avatar
Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

BTW, I'll have a decaf mocha Craviotto, please.
I love when I get to record amazing musicians. Makes the job so much easier. Beautiful set up and amazing microphones. Having one of the worlds best drummers on top of that. Must have been a good recording day. It was probably a well deserved Decaf Mocha Craviotto.
Old 15th October 2020 | Show parent
  #5617
Lives for gear
Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

BTW, I'll have a decaf mocha Craviotto, please.




Looks like an awesome day
Old 15th October 2020 | Show parent
  #5618
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

BTW, I'll have a decaf mocha Craviotto, please.




That must have been fun. He's got such a lovely touch.

How's the cymbal bleed into the 87s?
Old 16th October 2020 | Show parent
  #5619
Lives for gear
 
cheu78's Avatar
Quote:
Originally Posted by 127Riot View Post
You named a lot of great mics, at this point if I’m going to go over $3.k for a pair I would just get another flea 47 vintage series. Plus I like the option of having cardioid & Omni. I’ve used a C24 and a akg 422 and They’re great but I’d like to be able to place them far apart in different locations I have an R88 great mic for room and OH but I’m looking for LDC’s, even tho the overheads I prefer in my room so far is an old pair of akg 451e’s, even over a pair of U87’s and 414’s but for stereo room I’d like to get a decent pair of LDC’s.

I’m going to try the Mojave’s with the fall back of knowing another flea 47 would make me happy. Although having a pair of Mojave at round $2.k give or take a few hundred wouldn’t bother me to leave them up all the time for stereo room where my flea 47 I have now I use for a lot of vocals and other stuff so I’d constantly be pulling one down. So that’s what’s making me want a cheaper pair of LDC’s. I just don’t want generic hyped top end. I do like the U89’s idea that you mentioned they’re flat sounding mics but I think I want to go new in hopes to get 2 mics that are relatively close in sound.

My drum room is a small “home set up” but I get some size out of it with the right mic placement and post treatment. Hardwood floors help too.

I put up a pair of the old original SM-81’s as stereo room mics for a session in addition to my flea 47 as mono room with the flea 47 up the center and smashed the 81’s with some compression hard panned left and right they didn’t sound bad at all but it’s time for something different.
Maybe you can rent some U89 and see how they fare or a pair of tlm170, which has the same capsule and several polar pattern and a transformerless output (don’t worry about not having an xformer, you have plenty in your signal chain ).
I believe I’ve seen a pair of matched pair tlm170 on the GS classifieds some time ago..(I believe GS member Tourtelot, but don’t quote me on that, maybe was somebody else in the Remote Possibilities part of the forum).
(Tlm193 is the same but cardioid only and less expensive).

These are rather flat/neutral, don’t have the hyped/pushed top end (sizzling) of the akg 451 (or orher akg’s..).
if you like that maybe you should look into something brighter, like the new Austrian Audio OC818 or a pair of Lewitt LCT940 (which are tube and you could decide how much “roundness” to have with their TUBE/FET design).

These are all within a reasonable budget for the pair, even when bought new.

I’d test some candidates out before purchasing.



Cheu

Last edited by cheu78; 16th October 2020 at 03:48 PM..
Old 16th October 2020 | Show parent
  #5620
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jjblair's Avatar
Quote:
Originally Posted by Drumsound View Post
That must have been fun. He's got such a lovely touch.

How's the cymbal bleed into the 87s?
Doesn't annoy me in the least. Cymbal bleed in the tom mics is part of the sound. It's about whether or not it sounds good or bad, and as you probably know, why I hate a certain mic on toms. You can't avoid bleed on drum mics The trick is to get them to all work together.
Old 16th October 2020 | Show parent
  #5621
Quote:
Originally Posted by Drumsound View Post
That must have been fun. He's got such a lovely touch.

How's the cymbal bleed into the 87s?
Trying desperately not to derail the thread here . . .

Just one comment on a beautiful setup and great question!!

U89s are so much better rejecting cymbal bleed than U87s. I've switched all tom capture over to U89s and am delighted with the results. Still need to make a huge cut at 325-350hz, as to be expected, but natural sound is beautiful too!
Old 16th October 2020 | Show parent
  #5622
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by jjblair View Post
Doesn't annoy me in the least. Cymbal bleed in the tom mics is part of the sound. It's about whether or not it sounds good or bad, and as you probably know, why I hate a certain mic on toms. You can't avoid bleed on drum mics The trick is to get them to all work together.
I'm a firm believer in this method as well. I've never had access to 3 U87s at once, So I really appreciate your thoughts on this.
Quote:
Originally Posted by Ward Pike View Post
Trying desperately not to derail the thread here . . .

Just one comment on a beautiful setup and great question!!

U89s are so much better rejecting cymbal bleed than U87s. I've switched all tom capture over to U89s and am delighted with the results. Still need to make a huge cut at 325-350hz, as to be expected, but natural sound is beautiful too!
I've never had a chance to use a U89 on drums. I THINK I used one on guitar overdubs in New York at The Bunker about 10 years ago.
Old 16th October 2020 | Show parent
  #5623
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Jeff Hayat's Avatar
 

Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week.
Nice!

That place looks familiar... what is it?

--edit-- just realized. EW Studios.
Old 16th October 2020
  #5624
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jjblair's Avatar
I used 87s, not because they are my favorite, but I needed three of them, and they were available and work. I would prefer 414EB's or C37A's, but I didn't want to have to bring any mics. And honestly, it's a jazz date, and half the song was on brushes. I didn't need to get the super articulate, in your face tom sound. I just needed to be able to hear the toms, and dial in a sound in less than 10 minutes so that a bunch of double and triple scale union guys can nail it in a couple takes, and go home for the day, and the network could get it and approve it.

I went to a studio last week with a Euphonics console (egads!), Sennheiser clip on mics on toms, a 421 on the lowest tom (blech), a Beta 52 in the kick (double blech), some OH's I've never heard of, and didn't get to use outboard gear, and managed to get a really solid and usable sound. If I'm producing or engineering on an album that needs a particular sound, maybe I'll be fussier and bring stuff or insist on stuff, but you go to battle with the army you've got, make it sound pro, do it quickly, and move on to the next thing.

Last edited by jjblair; 16th October 2020 at 10:25 PM..
Old 21st October 2020 | Show parent
  #5625
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127Riot's Avatar
 

Quote:
Originally Posted by cheu78 View Post
Maybe you can rent some U89 and see how they fare or a pair of tlm170, which has the same capsule and several polar pattern and a transformerless output (don’t worry about not having an xformer, you have plenty in your signal chain ).
I believe I’ve seen a pair of matched pair tlm170 on the GS classifieds some time ago..(I believe GS member Tourtelot, but don’t quote me on that, maybe was somebody else in the Remote Possibilities part of the forum).
(Tlm193 is the same but cardioid only and less expensive).

These are rather flat/neutral, don’t have the hyped/pushed top end (sizzling) of the akg 451 (or orher akg’s..).
if you like that maybe you should look into something brighter, like the new Austrian Audio OC818 or a pair of Lewitt LCT940 (which are tube and you could decide how much “roundness” to have with their TUBE/FET design).

These are all within a reasonable budget for the pair, even when bought new.

I’d test some candidates out before purchasing.



Cheu
Thanks Cheu,
Those are more great options and I don’t mind the mics being transformerless at all. I prefer having a Cardioid & Omni pair.

After putting some thought into it. I have a few LDC’s I could turn into pairs by just purchasing one more of each and since I know these mics I feel comfortable they will suit my needs.

The mics I’m considering turning into a pairs is the Sony C37 & C48, I’ve used both as mono drum room & overhead and they do good. Having these in pairs will be great for stereo room High & Low, and a bunch of other scenarios.

Plus This way I won’t have to deal with a return if I went with something unfamiliar that didn’t work out for me. Especially being microphones with what’s going on currently.


What do you think?
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Old 21st October 2020 | Show parent
  #5626
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by jjblair View Post
Got to record Peter Erskine this week. C12’s in Glynn Jonhs. 87’s on toms. D19 and 441s on snare. D12 and fet47 on kick. 4038 mono room and M50s stereo room. Had like 10 mins to dial everything in. Piece of cake.

BTW, I'll have a decaf mocha Craviotto, please.





This is absolutely Beautiful!
Old 22nd October 2020 | Show parent
  #5627
Here for the gear
 

Quote:
Originally Posted by 127Riot View Post
Has anyone used a Pair of Mojave LDC Mics on Stereo Drum Room Or Stereo Overheads? If so please let me know your thoughts. I’m looking for a pair of LDC’s that I can use specifically for these 2 applications. They will be used for other things as well but I’m mainly considering them for these purposes.

Or I might consider buying another Flea 47 vintage series and just use them as a stereo pair when needed.

I absolutely love my flea 47 for mono drum room so I sorta know what I’d be getting x 2, but I’m thinking it wouldn’t hurt to buy something new that I haven’t tried.

I have all my SDC & Ribbon mics covered I’m specifically looking at LDC’s.

If I’m posting this in the wrong thread please delete this post.

Thanks in advance!
Steve
For overheads I use a pair of Mojave 201 fet mics, they sound incredible!
Old 3 weeks ago | Show parent
  #5628
Gear Head
 

Quote:
Originally Posted by stealthbalance View Post
here's my 2 cents-
s
more like 16? cents, lol.

But honestly, that looks like you'll have options for days.. which gives me so many questions, if you'd humor me, I'd love to ask:

How many of those mic tracks make it into the final mix?

How do you handle all the phase issues from so many overhead and room mics... especially on the low end?

I see 3 overhead mics, do you do a hard LCR pan?
What are you going for with each mic?

It would probably take a while, but I'd love to know like if you went down the input list and explained the thinking behind each mic selection and position?

How much time did you spend picking drums, heads, tuning, type of sticks etc?

I have so much more I wish I knew.

Thank you.
Old 3 weeks ago | Show parent
  #5629
Gear Head
 

that C12? pointed towards the snare from a distance... what is the thought surrounding that? also, what a setup.. bravo!
Old 3 weeks ago | Show parent
  #5630
Gear Head
 

Quote:
Originally Posted by Alex Banks View Post
By drummers right shoulder; Coles 4038 - Warm Audio TB12
Coles into the Tb12? oh Man, how did it sound? what settings on the 12? how do you like the tb 12 overall when it looks like you have options?
Old 3 weeks ago
  #5631
Lives for gear
 
BillSimpkins's Avatar
Small room. This Rogers set sounds HUGE so the micing is for a big open lively sound.
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Old 3 weeks ago | Show parent
  #5632
Gear Nut
 
Alex Banks's Avatar
Quote:
Originally Posted by Sircalhobz View Post
Coles into the Tb12? oh Man, how did it sound? what settings on the 12? how do you like the tb 12 overall when it looks like you have options?
It sounded great! Here is a track from the session with the mic/pre setup: https://soundcloud.com/drill-hall-st...rivate-pirates

(This was summed through AM7 line amps into a pair of Mitsubishi Quad 8 eqs and WA Bus comp)

I did try the Great River, but it was too mid forward. I often use a pair of 4038 through the Great River, but not today.

I love Focusrite on dynamic mics, but not so much on ribbons.

The TB12 is fast and punchy and the nickel transformer add a polish/shine to the upper midrange. The steel transformer add a little grit - more so with the 731 op amps saturating.

I use the TB12s in a myriad of different ways. I start with the 918 op amps, vintage caps and nickel transformers.

I prefer the 918 op amp over the 731 for extreme saturation. Think smashing a live drum into a phat Hip-Hop drum. I have also taken 909 kicks and used very heavy op amp saturation to destroy the sound for Gabba Techno/Speedcore. The sweet spot goes on forever and never gets to "bitty/disjointed".

I have a stereo summing channel that starts through the Great River and then the TB12s - this is gold! Add loading to the GR and a little 918 saturation... then hit a VCA or FET compressor hard in parallel.

I have a lot of Warm Audio outboard (not mics) and this, I feel, is the best of the bunch.

Cheers!
Old 3 weeks ago
  #5633
Lives for gear
 
thismercifulfate's Avatar
I just had a tracking session with one of the best session drummers in town Reinhardt Melz. We did a variety of genres so he set up a lot of cymbals so we wouldn’t have to switch them out between songs. I was trying out the Josephson e22 on snare and I’m very impressed.

Kick - MD421 U5 - Vintech x73i - dbx160VU
Subkick - CraneSong Flamingo - Electrodyne 511
SnTp - Josephson e22 - Vintech x73i
SnFX - Placid Audio Carbonphone RU80 - CraneSong Flamingo
SnBt - EV 635a - Neve 33115
Crotch - AEA R84 - Langevin AM16
Toms - Audix D2 - Avalon M2 - SSL 611
OHS - Neumann KM84’s - Brent Averill Neve 1272
Hihats - Mesanovic Model 2A - Neve 33115
Room Mono - Josephson C705 - Langevin AM16
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Old 3 weeks ago | Show parent
  #5634
Quote:
Originally Posted by thismercifulfate View Post
I just had a tracking session with one of the best session drummers in town Reinhardt Melz. We did a variety of genres so he set up a lot of cymbals so we wouldn’t have to switch them out between songs. I was trying out the Josephson e22 on snare and I’m very impressed.

Kick - MD421 U5 - Vintech x73i - dbx160VU
Subkick - CraneSong Flamingo - Electrodyne 511
SnTp - Josephson e22 - Vintech x73i
SnFX - Placid Audio Carbonphone RU80 - CraneSong Flamingo
SnBt - EV 635a - Neve 33115
Crotch - AEA R84 - Langevin AM16
Toms - Audix D2 - Avalon M2 - SSL 611
OHS - Neumann KM84’s - Brent Averill Neve 1272
Hihats - Mesanovic Model 2A - Neve 33115
Room Mono - Josephson C705 - Langevin AM16
Heyba, neighba. Thank you for always offering the most interesting and intriguing ideas about drum tracking. This time I'm wondering, what does placing the R84 in the crotch position add to the overall depth and tenor of your drum track? I have never tried this before, but now it's a must.
Old 3 weeks ago | Show parent
  #5635
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thismercifulfate's Avatar
Quote:
Originally Posted by 9xSound View Post
Heyba, neighba. Thank you for always offering the most interesting and intriguing ideas about drum tracking. This time I'm wondering, what does placing the R84 in the crotch position add to the overall depth and tenor of your drum track? I have never tried this before, but now it's a must.
Thanks for the kind words! Almost any mic works in that position. But I tend to favor fig-8 ribbon mics because they reject the ride cymbal the best and have a sound that holds up when you lovingly distort and/or compress the crap out of! In fact though, if I had only one mic to capture the whole kit, that’s where I’d place it. You actually get a nice balanced and very punch capture if the whole kit, with more low-end than I usually know what to do with. But in the context of a full array of mics, my usual approach is to hpf it, then either smash it with an 1176 with 4:1 and 20:1 buttons in, fastest release and attack at 12°clock and input/output set to taste or to smash it with an SSl channelstrip where I similarly hpf first (split button on the filter section) and then dime the ratio and threshold knobs and select fast attack and fastest release. Pushing some 1-2khz into that compression can really draw out some tone on the snare, while I’ll expound on shortly. The other one I like is the Avid White Boost plugin. I’ll turn up the gain knob, and play with the bass and treble settings. Sometimes I’ll get crazy and add more input gain even after the gain knob is maxed out. Works better on slow tracks with not too many cymbals. But you can use any distortion plugin, or an amp sim. Sansamp rules. Avid lofi works too, with an eq in front of it.

Let’s talk about snare - most folks seem to think that the snare top mic is responsible for getting the main tone of a snare drum when recording drums. In my book this is false, and a mic in the typical snare top spot is a poor means to get actual tone. What you get there is the low-end from proximity and also the attack, but nothing substantial in between. But the “tone” part of a snare drum that makes it sound different from other snares and gives a drum its character lives in the midrange. The crotch mic, which is not looking at either of the heads, but rather at the shell offers up an incredible way to draw out that tone. With either or both compression and distortion and some EQ you can dial in as little or as much of that tone as you want, which will make the snare really “pop” or “bark” or ring out, depending on what you need or do. Go listen to “One Headlight” by the Wallflowers or “Belief” by John Mayer. That snare tone ain’t from an SM57 or whatever they used on snare top position.
Old 3 weeks ago | Show parent
  #5636
Quote:
Originally Posted by thismercifulfate View Post
Thanks for the kind words! Almost any mic works in that position. But I tend to favor fig-8 ribbon mics because they reject the ride cymbal the best and have a sound that holds up when you lovingly distort and/or compress the crap out of! In fact though, if I had only one mic to capture the whole kit, that’s where I’d place it. You actually get a nice balanced and very punch capture if the whole kit, with more low-end than I usually know what to do with. But in the context of a full array of mics, my usual approach is to hpf it, then either smash it with an 1176 with 4:1 and 20:1 buttons in, fastest release and attack at 12°clock and input/output set to taste or to smash it with an SSl channelstrip where I similarly hpf first (split button on the filter section) and then dime the ratio and threshold knobs and select fast attack and fastest release. Pushing some 1-2khz into that compression can really draw out some tone on the snare, while I’ll expound on shortly. The other one I like is the Avid White Boost plugin. I’ll turn up the gain knob, and play with the bass and treble settings. Sometimes I’ll get crazy and add more input gain even after the gain knob is maxed out. Works better on slow tracks with not too many cymbals. But you can use any distortion plugin, or an amp sim. Sansamp rules. Avid lofi works too, with an eq in front of it.

Let’s talk about snare - most folks seem to think that the snare top mic is responsible for getting the main tone of a snare drum when recording drums. In my book this is false, and a mic in the typical snare top spot is a poor means to get actual tone. What you get there is the low-end from proximity and also the attack, but nothing substantial in between. But the “tone” part of a snare drum that makes it sound different from other snares and gives a drum its character lives in the midrange. The crotch mic, which is not looking at either of the heads, but rather at the shell offers up an incredible way to draw out that tone. With either or both compression and distortion and some EQ you can dial in as little or as much of that tone as you want, which will make the snare really “pop” or “bark” or ring out, depending on what you need or do. Go listen to “One Headlight” by the Wallflowers or “Belief” by John Mayer. That snare tone ain’t from an SM57 or whatever they used on snare top position.
Wow, fantastic information! Thank you so much taking the time to elaborate. I spent all afternoon yesterday trying to nail a certain drum track, and now I'm scrapping everything to go back to square one. I've got to hear what that R84 in the crotch position can do. (I wasn't perfectly happy with the results of yesterday's session anyway.) Rock and roll!
Old 2 weeks ago
  #5637
Lives for gear
 
andychamp's Avatar
It’s been a while...
OHs 2x Brauner Phanthera/SPL GoldMike(1st gen.)
Kick in EV RE20/API512C
Kick out Neumann TLM193/API512C
Snare top Neumann KMS105/API3124/Kush Electra
Snare bottom Sennheiser MD441 w. hi lift engaged/API3124
Toms 2x Beyer M88/API3124
Center of kit Beyer M160/Manley Voxbox
Room 2x Gefell UM70S in omni /D.A.V. BG1
Roland triggers on kick & snare/Palmer passive DI/direct to interface
P.S. I set those triggers up for utility (gating, samples, etc.), but the one on snare turned out to be the perfect sidestick mic with its nasal mid focussed sound.
Attached Thumbnails
Pictures Of Mic'ed Up Drum Kits In The Studio-1242067d-82e5-417f-b79e-3e837685e100.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-df7f1a96-34da-4007-b79f-2a3efc8fd30b.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-4ad5f03f-d05a-415f-bea5-888eb51a0063.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-b0e43359-0fe6-4f16-82bf-b25b4af5c27c.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-22eabd43-13f3-4b02-a579-d22f707e8e59.jpg  


Last edited by andychamp; 2 weeks ago at 10:40 PM.. Reason: P.S.
Old 1 week ago
  #5638
Lives for gear
 
thismercifulfate's Avatar
I’m at Tucker Martine’s studio Flora Recording and Playback for a 10 day session. The studio is insanely cool and there’s more gear than I know what to do with and even a real echo chamber. We’re switching a lot of gear out from song to song but here’s the basic setup we begun with on drums:

KickIn - D112 or M88 - Avedis MA5 - API560
KickOut - U195 - Console - API560
SnTp1 - KM84 - Console
SnTp2 - Unidyne III - Neve 1064
SnBt - MD441 - Console
Hats - KM86 - Capi VP28
Ride - KM86 - 33105
Crotch - RCA 77 - x73 - 1176
Toms - e22S - Console - SPL Transient Designer
OHS - U67- Console - 670
RmStereo - R88 - Console - 1178
RmMono - M49 - Console - SpecterSonics Model
610

I’m not using every mic on every song but this setup gives us the most options. The Console is an API Legacy with 212L pres and 550L EQ’s. Everything is going into a Burl Mothership.
Attached Thumbnails
Pictures Of Mic'ed Up Drum Kits In The Studio-8e0ec3de-fcbb-44b0-99f0-eb38ef454133.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-23d10df6-f3b6-4c83-92b9-bed084e5c515.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-6fdc8eb3-6d66-48fe-952f-224a5e6a9672.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-f54ed737-2362-474e-a567-f02a44e4a921.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-d100843a-f03a-4097-81f0-a82403ead5f1.jpg  

Pictures Of Mic'ed Up Drum Kits In The Studio-dfe82ff5-a5a5-409a-9de8-c85fdbb921b7.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-3bd29c99-ab94-4dc7-b6ab-0352f7d4d0f6.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-f5402d91-c94a-45fe-84c0-5293f650356e.jpg   Pictures Of Mic'ed Up Drum Kits In The Studio-de50e051-6f88-49c8-a8e3-8df22e449d4d.jpg  
Old 1 week ago | Show parent
  #5639
Lives for gear
 
cheu78's Avatar
Quote:
Originally Posted by thismercifulfate View Post
I’m at Tucker Martine’s studio Flora Recording and Playback for a 10 day session. The studio is insanely cool and there’s more gear than I know what to do with and even a real echo chamber. We’re switching a lot of gear out from song to song but here’s the basic setup we begun with on drums:

KickIn - D112 or M88 - Avedis MA5 - API560
KickOut - U195 - Console - API560
SnTp1 - KM84 - Console
SnTp2 - Unidyne III - Neve 1064
SnBt - MD441 - Console
Hats - KM86 - Capi VP28
Ride - KM86 - 33105
Crotch - RCA 77 - x73 - 1176
Toms - e22S - Console - SPL Transient Designer
OHS - U67- Console - 670
RmStereo - R88 - Console - 1178
RmMono - M49 - Console - SpecterSonics Model
610

I’m not using every mic on every song but this setup gives us the most options. The Console is an API Legacy with 212L pres and 550L EQ’s. Everything is going into a Burl Mothership.
Very nice!
I can imagine that that is a fun space to get great tones!!
I always wondered why the api 212 are not more popular (since they put them in their flagship consoles), and also why the 200 series didn’t boom (yet)..

I understand that is smaller and there’s less space to deal with, BUT a simple hp/lp filter, great sounding 2 band eq’s, or a simple compressor (like the 225) could be done (as api proves) and in today environment a small 10x2 mini console made with these modules could be a very cool thing..

How do you find the 212 compared to their (more popular) 512?
(or compared to the MA5.. which of course is a different beast but I see more and more of them lately.. finally )



Cheu
Old 1 week ago | Show parent
  #5640
Lives for gear
 
Ol' Betsey's Avatar
Always a pleasure seeing your set-ups. Really! Thanks for contributing so much to this thread!

R.



Quote:
Originally Posted by thismercifulfate View Post
I’m at Tucker Martine’s studio Flora Recording and Playback for a 10 day session. The studio is insanely cool and there’s more gear than I know what to do with and even a real echo chamber. We’re switching a lot of gear out from song to song but here’s the basic setup we begun with on drums:

KickIn - D112 or M88 - Avedis MA5 - API560
KickOut - U195 - Console - API560
SnTp1 - KM84 - Console
SnTp2 - Unidyne III - Neve 1064
SnBt - MD441 - Console
Hats - KM86 - Capi VP28
Ride - KM86 - 33105
Crotch - RCA 77 - x73 - 1176
Toms - e22S - Console - SPL Transient Designer
OHS - U67- Console - 670
RmStereo - R88 - Console - 1178
RmMono - M49 - Console - SpecterSonics Model
610

I’m not using every mic on every song but this setup gives us the most options. The Console is an API Legacy with 212L pres and 550L EQ’s. Everything is going into a Burl Mothership.
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