I'm having flashback of college jurries. It's been so long since I've been behind a marimba.

I'm sure this will sounds wonderful.

Thank you for your tips about a "slightly upgrade" - I appreciate that because its sounds feasible and it is not far out of limit.

I know here is "gear zone", but at the moment I am more struggling on the "creativity side" which is imho the most important factor of creating good music.
Btw. I forgot to mention, that I also have a decent Large-Diaphragm valve condenser as room mic. Although my recording room has no special treatment, this helps to get a more lively and glued sound.

Greetings to Zürich

since i'm using a steep lpf on the blm, i put i underneath the tubes of the lowest bars (but mostly use a central pan position).

Without creativity there’s nothing worth to record indeed..

treating rooms is key though, especially ceilings (over the drums) and early reflection points.. that said there are some rooms that with no or very little treatment sounds pretty good (they’re usually filled with other stuff and are not empty).

Another great rather inexpensive mic is the shure ksm137 (especially on toms or floor toms).. they could be found used for affordable prices. Good consistent quality.

I believe you should be able to post pictures though.. try to attach them as an “email attachment” in the formatting options of the post, attach the files and click the “finish” button (that you’ll find below) after you’ve uploaded them.

I attached a pic that shows where you have to click..
I imagine everybody will enjoy these rogers drumkit more and you could post some more pics.



Cheu

Thanks for your help... - now it works

You’re welcome!

Nice hats!!
I’m not a paiste guy, BUT there are few paiste I really like, the dark crisp hats are one of them (the old coloursound hats are another one, and I remember an old 2002 16” china with the square/inversed bell which was nice, small wuhan china’s, like 12 to 16”, are also very nice and not so brash as the vast majority of china’s).



Cheu

I say :: make it easy https://imgur.com/a/BQeX7z1 Classic hit ---with one mic

I'll do it exactly the same as long the musicians are ok with playing without any monitoring, which is more or less impossible at this point. To be exact I managed to do it 2 times in around 200 albums I recorded

I haven't tracked one in four years ...but, if you have the right room...I prefer the classic style. I started only recorded live to 2 track in the 70's ... Their monitoring was live all surround sound ;-)

In 40+ years....35% of all my recordings ::followed suit...

Did four CD's here https://youtu.be/RureUg8tY00?t=399

Lame and simple, but I thought it was cool. I needed a lofi sounding drum loop for a 15 second section in a song. Threw up the old RCA PB-90 through a Soyuz Launcher, put my Matchless DirtBox tube pedal on the insert. Duplicated the track, faded the dry one to the right and a tape delayed version to the left. Worked out perfectly!

Here's a video of my Unix Stave Walnut drums with a Joyful Noise Luminary snare.

https://www.facebook.com/sf.mill.7/v...81416965932424

Finally got the first single from this session out. Covid delayed things quite a bit.

I updated the gear list with preamps and compressors.

Anyway, here's the drums in context (also on Spotify, Apple Music, etc...)

Set up the Slingerland set for some brush playing today.
OH MC012 U87
BD X1D e602
SD Røde TF5
Rooms X1R ATM23he
Hat M201
Knee TOMB ribbon

Is that a DIY plate in the corner?
I can‘t be the first to notice...

Nice setup.

Have you considered bringing the "knee" mic closer to your knee to capture more of the bass and snare drums which could blend evenly with the toms?

Kind of. There was a small company here in Central IL that was building and selling them. I reviewed it for TapeOp, and they brought over the one they used on their own recordings. I think it may even be the prototype. Sometimes I take the output during tracking because live drums get it going.
Thank You!

I've done all kinds of things with the knee mic over the years. I've been into that ribbon over the shell a lot lately because of the sound of the BD through it. It kind of does what I want the outside BD mic to do, and other elements sound good as well. I tend to favor over the shell compared to just past the rim, and over the beater.

Very cool!

Had the vintage Slingerlands going again, but this time with a full 'modern' micing for a GS member's project.
The set up was:
Stereo overheads -Octava MC012 in the Recorderman setup.
Stereo room- sE X1R (ribbons) Blumlein about 6 feet back from the front of the BD
BD- Sennheiser e602 and sE X1D
SD- top Audio Technica ATM23he Bottom Beyer M88
Toms- sE X1D (One rack and 2 floor toms, though I'm not sure I played the second floor tom at all)
HiHat- Beyer M201
Knee- Tape Op Ribbon mic

Everything went through my Neotek Elan preamps except the Overheads which got the Useful Arts SFP 60 Tube preamp.

Pics from a recent drum tracking session.

Kick In: D112 - Vintech x73i
Kick Out: U47fet - Neve 1272 - Electrodyne 511
SnTop1: KM84 - Neve 1272 - Neumann PEV EQ
SnTop2: MD421 - Neve 1272 - Heritage 1073 EQ
SnBt: EV 635a/b - Neve 33115
Hats: Royer 121 - Neve 33115
Toms: Josephson e22S - Avedis MA5 - SSL611EQ
OHS: C12 clones with Tim Campbell CT12’s, matched NOS GE 5-star 6072a’s, Beeznees xfo’s - Langevin AM16 - Manley Vari-Mu
Crotch: Royer 121 - Vintech x73i - Invonics 220
Room Mono: Bottle + M7 - Neve 1272 - LA2A
Room Stereo: Schoeps CMC6 + mk4 - SSL

As always great stuff from you!

What are those c12’s? Beesneez? or are frankensteined?
Interesting the schoeps stereo on the floor, pzm style..
You seem to rely to the eq while tracking, are you using to bring out the lowend from the fet47 on the kick (the edyne is lovely) or the crack on the snare while cutting what you don’t need, I guess.. ?

Anything we can listen to ? (snippet?)



Cheu

I've been using an inexpensive ribbon in a similar position that you have the 121 crotch mic. One thing that really blows me away is that is sounds like I always WANT the outside BD mic to sound. Big cool, but controlled WOOMP. Is the 121 providing something similar?

A fellow engineer Josh Powell built these using really premium parts. They're really phenomenal!

Other than on kick I'm doing pretty light EQ. The 47fet for instance just had +2db shelves at 1.5khz and 40hz, snare top 1 just one click of 10khz, and the crotch mic just for a HPF. It just gets me closer to the final sound and it ultimately means I have to use less plugin EQ's in the mixdown.

I attached some sound clips. I just remembered that I did run the mono room mic through the Roland SRE-555 Echo Chorus, to round the top off with the tape and ended up adding a little of the spring reverb in. Our live room is pretty small, but you can hear how much the stereo room mics that I smashed through the SSL channels add in width and excitement.

Yes indeed! I seldom get an outside kick I'm stoked about, but a ribbon mic in that spot is ALWAYS awesome sauce for the kit. The royer is my go-to because it's not too huge on the bottom and has a focused midrange, but if I'm a studio with an RCA 77 that can't be beat. I run it through the Vintech and depending on the tempo of the song I experiment with having it wide open of pushing the gain into distortion and more importantly where I set the hpf because it totally changes the behavior of the 1176 that follows it. I'm typically not looking to get much low-end from this mic, but rather some tone and character from the snare. Sometimes pushing somewhere around 2k into the compressor can really set it off.

Sounds great!!! Thanks for the clips.

Jealous that you bought Josh’s mics! I was eyeing those after he posted them on IG, but couldn’t justify it after modding a couple AR51s similarly. They sound great from the clips! Howdy from NE PDX, neighborino!

Yesterday‘s setup for a one-man pop/soul/funk/boombap project.
The client is a jazzschool-level drummer and earning his living as a piano teacher, quite an accomplished musician.

Client‘s cymbals, our shells...I love that 15“ Supralite! Great tuning range, but always with that Ludwig bark.

Stereo OHs: Coles 4038 Blumlein > 1st-gen. SPL GoldMike
Mono OH: C414XL-S > overdriven API3124 > Distressor on Nuke
Kick beater: RFT DM622 > GR500NV
Kick front: Earthworks TC20 > API512
Snr top1: SM57 > GR500NV
Snr top2: EV664 > API512
Snr bottom: MD441 > GR500NV
Tom: MD421 > GR500NV
Close room: EV635a > Focusrite Platinum Voicemaster for mangling.

Roland triggers on kick and snare.
Practically SOP anytime I've got enough channels, so useful in postproduction for all kinds of things!

Very cool! Do you happen to know the drummer’s name. He looks a little familiar to me.

Very cool Andy!!




Cheu

all that and not one word about all the newspaper in there!?!

What do you want to know? Not sure I‘ll be able to answer all questions, but it‘s worth a try...
Obviously inspired by Motown. Works better for controlling sustain than felt strips, at least for me.
Also, the front head with the dampening ring made it easier to tune for a deep and solid tone, the coated 1-ply head only got stable at a higher pitch.

regarding the paper.. I remember hearing stuff like that for metal ..its got to have a swishy type of sound to it ..no?