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Your favorite drum mics are........... Condenser Microphones
Old 16th June 2006
  #61
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ImJohn's Avatar
Current setup but subject to change :

OHs - Avenson STO-2 (previously Neumann TLM193)
Snare- Josephson e22S (previously Beyer M102)
Toms - AT2020 (previously Marshall 2001p)
Bass - ATM25
Room- Royer R121
Old 17th June 2006
  #62
Gear Addict
 
mdbeh's Avatar
 

about e22s...

Quote:
Originally Posted by 84K
Yeah. they are the bees knees. Seriously. AMAZING. There is no way you won't like them. Only problem. You will want 6 of them!!!>>>> Snare top-bottom, toms top-bottom. (and that's 6 if you only use one rack tom, 8 if you use 2 rack toms) They are expensive but worth every cent
I love mine. I use them quite a bit for overheads, too, though I seem to be in the minority for that.
Old 17th June 2006
  #63
High Fidelity
Guest
High end drum microphones

For high-end results...

Usually excluding dynamic microphones for recording (acceptable in live performance, when nothing else) because of poor linearity, poor transient responce and especially high distorsion on loud sources ... with the exception of ribbon microphones:

- Royer R121 or better R122 (phantom powered)
- Beyerdynamic M-160 or M-130

Ribbon microphones will require high quality cable (starquad or equivalent) with a high gain and low noise capable preamplifier (so high-end). Advantages of ribbon microphones: a rather detailed sound without harshness.

Usually lowest number of electrostatic (condenser) microphones possible to get desired acoustic capture of drum or percussion set .. such as a main microphone pair in ORTF over-heads and one kick (outside of BD), eventualy another spot microphone on the snare (or conga) and HH. Avoiding microphones sonic mismatch (to fuse together with main pair) unless fitting better close miking position.

- Neumann KM-180 series
- Sennheiser MKH-20, 30, 40 or MKH-80 (variable pattern)
- Rode K-2 tube (variable pattern)
- Neumann TLM-193 or M-147 tube
- Neumann TLM-170R or M-149 tube (variable pattern)
- DPA 4006 or 4011
- Microtech Gefell UM92.1S (variable pattern)

Regards,
Laurent
Old 17th June 2006
  #64
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AdamJay's Avatar
 

Overheads: Beyer M160's (or TC30k's if the room is really nice), in Recorderman config
Snare Top: Beyer M201
Snare Bottom: SM57
Toms: MD421's
Kick: D112
Room: Red Type B w/ B7 Capsule, or an AT4060.

ShinyBox 23C does well between a pair of rack toms too.
also use the 23C and one M160 for M/S occasionally.

and if the hats are real dark, like these Bosphorus Turks i've been recording lately, i'll throw an AT4041 on the hats as the Beyers just don't seem to grab enough hat sound in the OH.
Old 17th June 2006
  #65
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Ol' Betsey's Avatar
Quote:
Originally Posted by High Fidelity
For high-end results...

I have been taught to just exclude dynamic microphones because of poor linearity, poor transient responce and especially high distorsion on loud sources
Interesting...

Sometimes I think I like all that stuff...

Especially high distortion on loud sources.

Then again, I could give half a **** about poor linearity if it sounds good too! (Actually was IS 'poor linearity'? Ok, yes, I'll admit it. I'm a 'if it sounds good, it is good' type a guy. Not very technical at all...)

But that's just me. heh


Kick: D12/112
Snare: 57 (trying a e604 now and kinda like it) and sometimes a 84/451 taped to the 57.
Toms: 421 (if mic'ed)
O/H: 4038/121/KM84 (very rarely use the 84's now though)
F/K: 121

With so much Fig 8 I don't really use room mics so much anymore. Maybe a 57/58 for some squash-nasty but that's about it.

And just bought a Sub Kick and will try this week. Lookin' forward to some Sub loveliness.

R.
Old 17th June 2006
  #66
Gear Addict
 
Capstan Cappy's Avatar
 

Quote:
for high end results
I have been taught to just exclude dynamic microphones because of poor linearity, poor transient responce and especially high distorsion on loud sources ... with the exception of ribbon microphones:
funny , i've been taught to USE dynamic mics cause u get less crosstalk between mics then when you would use all with condensers or tubes, and they can handle loud sources pefectly in my experience, but ey if it sounds awsome either way then that's the way to goheh
Old 17th June 2006
  #67
Gear Nut
 
AmbientSound's Avatar
 

This was my last setup

Kick in - M88
Kick out - Geffell UMT800
SNR top - SM57
SNR bot - some old fostex thing (GRP or GP9 or something)
Toms 1 & 2 - MD421
Floor - Stedman N90
Hats - Geffell M300
Ride - Geffell M300
O/H - Stereo B&O Ribbon
Room - Calrec Soundfield (used the B format and decoded in SADiE)

Cheers Jason
Old 18th June 2006
  #68
Gear Addict
The usual
OHs- Oktava 012, SM81 or AT 4031
Snare- 57 or RE10
Rack toms- Senn 504 ,421, or 57
Kick-RE20, M88, ATM25 or D112
Floor- RE20
Room - 414 EB
Old 18th June 2006
  #69
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Jim vanBergen's Avatar
 

NEVER HIT BY THE DRUMMER!!!!

I wish.
Old 18th June 2006
  #70
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insomnio's Avatar
 

Somehow the ATM25 sound the way I end up EQing a D112 in the mix, just add some punch and it's done. About the E604, for me, they doesn't handle EQ like the SM57s do. You can shape a 57 like a piece of plasticine, that's the great thing about them.
Never liked condensers in the snare (top nor bottom).

___________________
Insomnio
Old 18th June 2006
  #71
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Matthew Murray's Avatar
 

So far I've been toying with the following setup with some rewarding, crispy results:

Kick Outside: Subkick
Kick Inside: 421
Floor Tom: 421
Rack Toms: EV N/DYN468's
Hihat: Neumann KM-184
Snare Top and Bottom: 57's
Overheads: Gefell m300's
Room Mic, Directly in front of kit: Blue Bottle with B6 Capsule.

It's funny, I don't think anybody mentioned the EV 468's for use with toms .. I'd never use it on the floor tom, but for the rack toms they sound great to my ears. I think I'll replace the B6 capsule on the bottle with the b7 for the room mic .. i'm not using much of it in the mix right now.
Old 18th June 2006
  #72
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brendondp's Avatar
 

Quote:
Originally Posted by AdamJay
Snare Top: Beyer M201
Snare Bottom: SM57
Ha!

I've never liked the whole bottom snare thing, but just this weekend began work on an EP, and thought I'd try (begrudgingly) a 57 on the bottom with my Revox M3500 (Beyer M201) on top.

And it was great!

Really impressed, and may become the new standard round our way. Made sure I paid attention to mic placement, tuning, snare tension (critical) and phase, and ...bam, instant snare goodness.

Just goes to show that all those "I never..." comments often come to bite you in the ass if you're not careful.

Consider my ass bitten.

Cheers,

bdp
Old 6th July 2006
  #73
84K
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84K's Avatar
Quote:
Originally Posted by mdbeh
about e22s...



I love mine. I use them quite a bit for overheads, too, though I seem to be in the minority for that.

Interesting. I tried it on electric guitar cabs and did not like it. I will try overs. huh, cool. Thanks for the suggestion!
Old 6th July 2006
  #74
C/G
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C/G's Avatar
 

This is the combo I used last time and it was on my own kit, and I will use the same configuration this weekend as well while tracking some new songs my band is working on. This combo just seems to work well with my playing style and kit. Other kits we just put up what I have listed and swap out mics as needed to shape the sound.

kick in - Shure Beta 91
Kick out - BLUE Mouse
Rack tom - 421N
Floor tom - 421N
Snare top - Shure Beta 56 (who new??) or Shure KSM 141
Snare bottom - SM57
Overs L & R - Gefell M582 with UM70 capsule
Room - Gefell UM92
Hihat (if needed) - AKG 451E

Other room favourites are Oktava ML-16 ribbon, Gefell UM70s and BLUE B6 lollipop capsules on AKG 451E (great as overheads too).
Old 6th July 2006
  #75
Deleted User
Guest
Im glad to know I am not the only one micing crotches around here!




Quote:
Originally Posted by thenoiseflower
depending on preamps....

beta 52 in -- kick (lately using an octava 319!!! )
rode ntk or at4033 outside the kick
Rode ntk -- snare
421/414 toms
609 crotch mic
beneath the snare
2)ksm 44 OH
Shure BG 4.1 hats


1 tlm 103 far far away room if needed.....( IBP Phase tool exells here!)

and i absolutly will always throw 2 rode NT1 (not 1A!!!!) in the room but not too far from the kit going to 512api's direct to tape/192's using the onboard pad if needed, that s**t is the s**t!!!!
Old 6th July 2006
  #76
Gear Maniac
 
shaggseb's Avatar
 

BD = RE20
SN = SM57
OH = U87 pair in omni
ROOM = U67 pair in cardio
Old 6th July 2006
  #77
Gear Maniac
 
newnes's Avatar
 

Kick In - E/V ND868
Kick Out - AT 4047 (picks up a fair amount of bottom snare as well)
Snare - Shure KSM32
OH's - Rode NT5's in A/B
Room - AEA R92
Toms - if I mic them at all I use 57's or E/V RE16

The Rode's are nice with lighter playing drummers and darker cymbals but can get a bit harsh with heavy hitters so I'm considering a pair of Beyer M160's for that. Also the R92 isn't quite beefy enough for a room mic so I'm considering the R84 as well. The KSM32 is a bit tricky to position on the snare so you don't get too much hat but it can sound great if you get it right.
Old 7th July 2006
  #78
Lately it's been...

Kick - D112 inside, Mesa Boogie 1-12" cabinet through a Avalon DI outside
Snare - 57 top, 414EB Bottom
Rack Toms - Beyer 201 or Neumann KM140
Floor Tom - 421 or U87
Hat - KM84
OH - B&K 4011 or Audix SCX25, placement is split over a L/R cym group but equidistant from the snare
Room - one Fet47 close , two Manley Ref cardioids far.

good room is the key, I don't like to add reverb when I don't have to.
Old 7th July 2006
  #79
Lives for gear
Kick = E/V ND868
Snare = D1, or Sennhieser e905
Overheads = Sm81's
Toms = D2's..D4's
Room = K2 omni
Old 7th July 2006
  #80
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AdamJay's Avatar
 

Quote:
Originally Posted by brendondp
I've never liked the whole bottom snare thing, but just this weekend began work on an EP, and thought I'd try (begrudgingly) a 57 on the bottom with my Revox M3500 (Beyer M201) on top.

And it was great!

Really impressed, and may become the new standard round our way. Made sure I paid attention to mic placement, tuning, snare tension (critical) and phase, and ...bam, instant snare goodness.

Just goes to show that all those "I never..." comments often come to bite you in the ass if you're not careful.


Hell i've been using the Recorderman OH config almost entirely lately, and it picks up so much snare that if i could only mic the top OR bottom of the snare i'd probably go for the bottom.
Usually i step off all but the highs in the snare mic and just use it to add a little more crispness to what the OH is picking up. And guess where you get the most crispies ?

The bottom.
Old 7th July 2006
  #81
Lives for gear
 

any u195 kick users out there ----
what settings on the mic do you use ?
just curious
Old 7th July 2006
  #82
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Improv's Avatar
 

Kick: D6 or B52
Snare: Beyer M201 or 57
Hat: KM84 or TLM170
Toms: 421's or E609 silver's (sometimes TLM103 for a huge floor tom)
OH's: TLM103 or 414
Room: M/S anything... often 149/87 or U99's or ADK A51's or 414's...
Mono room: Coles 4038... this is the magic mic.

The rest is all in the room and the player. Our Yamaha Recording Customs almost always come across correct with this setup.
Old 7th July 2006
  #83
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Kick - D112 and/or Altec M11
Snare - top C451EB OR (top SM57 + bottom U87 phase flipped and gated) OR Altec M11.
Toms - Oktava MK012 or modded Pro37R for rack toms, 421 for floor tom. Sometimes 57's on toms.
OH - AT4033 (darker) or C451B (brighter) or Oktava MK012
Hat/Crash/Ride - usually I try to get those balanced in the OH but if I need them separate I'll use the Oktava's and put the Pro37R's on the toms.

On snare I find that using just a condensor on top can give a good balance of top and bottom (move around till it sounds right) - I just find it a bit less work to get the sound I want before tracking with an SDC than EQ'ing a 57 to sound right. If I have a 57 on top I always like to have a bottom track to blend in a bit.
Old 8th July 2006
  #84
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vcode's Avatar
drum mics.......

my current set up:
kick in- shure beta 52
kick out(low to the floor)-s.e. 2200 fet
front of kit-s.e. ribbon
snare top-57
snare bottom-57
rack and floor toms-421's
ohl and r rode nt-5(dont like em but its all i got for now)
oh mono-neumann u87
mono room behind drumset 7 feet high- s.e. gemini
living room(adjoining drum room)- s.e. icis
bathroom (adjoining drum room)-s.e. 5600 tube
s.e. icis squashed thru a chandler tg-1 limiter
s.e. ribbon thru a chandler tg-1 compressor
snare top thru a ua 1176

p.s. drums tracked cheap in los angeles using a.p.i., chandler and avalon mic pres and chandler tg-1 abbey road compressor and ua 1176 compressor.
norm 323 855 5526..ill engineer or you can. ill play or bring your drummer! or band!
Old 8th July 2006
  #85
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Any of you guys try top and bottom micing toms?

I've become a fan of that. A couple of advantages. First, the bottom mic (phase flipped, of course) yields a phatness that I've never gotten from a top mic. Like a cannon going off. Stick attack from the top mic plus depth and tone from the bottom = snappy + punchy + beefy toms.

Secondly, whatever percentage of the tom's SPL that comes through the bottom mic is well isolated, as compared to the top mic. It lowers cymbal bleed, etc by a corresponding percentage.

Third, much like micing a guitar cab with 2 mics, you can achieve major amounts of tone variation by the blend of the mics, with little to no EQ.

I like a dynamic on top, like a 421 and a large diaphram condenser on the bottom, padded of course. I've actually had good success from 414s, which is cool since I find little use for them these days, otherwise.

If you've never tried it and you have the mics and pres, give it a go. I think you'll be surprised.
Old 8th July 2006
  #86
Gear Addict
 
MBishopSFX's Avatar
 

My drum mic setup changes a lot depending on the situation. Here's one I liked that I used at Blackbird Studio (D):

Kick - RCA 44
Snare, toms, hi-hat - DPA 4023
OH, L&R - Royer 121
Room ambience - Neumann KU-100

Here's what is sounded like (a couple of lowly MP3 excerpts). Sounds alot better on the SACD, especially in surround!

ftp://telmedia.telarc.com/telarc/83631/83631-5-m.mp3

or:

ftp://telmedia.telarc.com/telarc/83631/83631-4-m.mp3
Old 9th July 2006
  #87
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Pfhuck's Avatar
 

Down in the boondocks....

Kick inside: sm91
Kick outside: ksm32
snare: nd468
rack toms: sm58
floor toms: d112/nd868/421
OH: ksm141(omni)
Room: ksm32

I guess I like (can afford) Shure microphones....

Durable and EXCELLENT customer support (at least here in the boondocks where not much else is available)

Much of the work I do involves sample replacement/augmentaion. Generally I use the kit of the project I'm working on.

For example:
Take the snare drum and put it in the corner of the room...
sm91 underneath on the floor
nd468 on the skin
ksm141 (omni) above
Have the drummer strike the drum 15-20 times
record to DAW
time/phase align
compress/eq
Bounce/slice
Aptrigga!!

Repeat for kick and toms if necessary...
Old 9th July 2006
  #88
Gear Nut
 

I'm liking...

inside kick: ATM25
outside kick: 4047
snare (top): audix I5 (sometimes an LDC on the side as well... not keen on bottom mic'ing)
floor tom: ATM25
OH (stereo XY) Shure KSM141
or mono OH Royer 121 (because I've only got one) and the KSM141s in omni as stereo room mics over a reflective surface... pretty killer. The 141s are total sleeper mics.

front of kit varies most. sometimes a 4047, sometimes the 121, sometimes the Charter Oak 528B, Baby Bottle... depends on the feel.
Old 9th July 2006
  #89
Gear Guru
 
drBill's Avatar
Mostly normal stuff if I'm at my own studio without $100,000 worth of mics:

Kick - D112
Snare - 57's top and bottom
Hat - KM84 or maybe a 414 if it's a dull sounding hat
Toms - 421's
Room mics - U87's (saving up for a pair of 121's)
Overheads - I like using U67's but since they cost a fortune and I don't own any, I tried the Marshall V69ME's and I loved them!! Big and fat on the bottom and airy on the top without being harsh. Very cool. Worked great in my own studio, although I would probably opt for 67's when I'm out and about.
Old 9th July 2006
  #90
Jai guru deva om
 
warhead's Avatar
 

Quote:
Originally Posted by Nerdyrocker
Im glad to know I am not the only one micing crotches around here!
Are we talking "butt mic" here? I'm familiar with butt mic'ing, placing a dynamic mic off the drummer's right butt cheek to sort of pick up the growl of the kit but...

crotch mic?

Not a Michael Jackson circa 1984 thing is it?

War
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