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van Overhalen 5th March 2005 08:46 PM

"Relish - drums" questions to William Wittman
Dear wwittman,

there are some sounds on Relish, particularly drum sounds, that are still mysterious to me, so as you suggested, I take the chance to ask the man himself, how he did it.

I read all the posts about how you place the mics and process the drums, but while listening closely with headphones I believe to hear differences between tracks, pannings I can not explain to myself, separation of sound sources, compressing one source but not the other and I can not imagine how this all was achieved by using 4 to 6 mics without further treatment like gating for instance.

This is what I hear:

I definitely can not understand how you were able to achieve such a clean and punchy dry bass drum sound while the snare has much more ambiance to it,
it almost sounds as if they were recorded in different rooms.
How could you balance the wet/dry relation so effectively by mainly using two room mics ?
In my experience the bleed of the bass drum into the room mics would make it impossible to keep the sound as dry as this.

Listen to „Come together“ from Abbey Road for instance.
There is this part, where the vocals are accompanied by the bass drum only, so you can actually hear how the bass drum sounds in that room, mainly cause all the other mics are still open and there is a lot of leakage.
That`s how a bass drum sounds in a room, right?
Now your bass drum on „St. Teresa“ on the other hand is far more punchy and dry.
That`s a long way from 1970 to 1995 !
What makes that difference ?

Or take a listen to „ One of us “.
That one is very interesting, cause while the guitar is playing the intro, one can hear a completely unprocessed hi-hat, with natural ambience to it, lots of low-end rumble. Hard panned to the right.
Then there is a hit on a crash cymbal which sounds as if it was overdubbed or something and finally, when the whole band is playing, the processed drum sound includes wonderfully balanced center stereo snare, hi-hat and bass drum, while all the crash and ride cymbals are panned hard to the right.
You can`t do something like this with just two room mics, can you ?
And there is a big difference between the intro and the song itself concerning processing the drums !?

I believe to hear at least 5 different sound sources that do not necessarily sound as if they were recorded in the same room.
There are wide and soft cymbals left/right panned (sometimes to the right only!) with beautiful loooong sustain.
There is the snare, always with a great ambience to it.
There is the hi-hat placed in the center with less ambience to it.
There is the bass drum with enormous punch, very dry.
You said that you never compress the bassdrum. Where does that punch come from ?
And there are the toms, also a lot less ambient than the snare.

How can you control all that in a way that although all instruments share the same room it doesn`t sound like complete chaos but is wonderfully balanced.

If I`d try to record my kit like that, the sound wouldn`t even come close, that is for shure.

There is more here than meets the eye, as Ringo once said... (-:

In detail:

St. Teresa:
bassdrum dry as hell / lots of punch, mono.
sidestick: that is artificial reverb on the snare isn`it ? definitely stereo.
I can`t imagine how you achieve such great separation without gating.
If you apply reverb to the snare, there would be reverb on the bassdrum also, except when you were using a gate to minimize the bass drum bleed into the snare mic.
hi-hat and cymbals at the end of song: definitely mono and center, so only one „overhead“-mic for them ?

Right Hand Man:
As you `ve described it.
Crashes and ride always more on the right side but in stereo?
Snare pretty overloaded, is this the KM 84 or the tape or the pre overloading ?

As you described it.
Crashes and ride more to the right.
Room sounds very different to the Right Hand Man-ambience.
Snare is tighter with more definition. Is this only the room or is there an effects processor involved ?
Sounds more processed to my ears.

Dracula Moon:
As described, but again the room sounds very different to the other two songs.
Snare is again overloaded.

One of Us:
Beginning of song: unprocessed hi-hat to the right, no low cut ?
crash panned to the right also, only one mic again?
Song itself: crashes and ride panned hard right: only one „overhead“-mic ?
Hi-hat almost center
hi toms center
floor tom panned hard left
cymbals, snaredrum, toms sound very separated, how did you mic and mix this one ?
At the end of song cymbals are equaly spread left and right
Hi-hat is more to the right this time.

Spider web:
Unbelievable live snare sound with lots of ambience
bassdrum is dry and punchy as hell again
crashes sound as if they were overdubbed, they are not in the same room with the snare?

Lets just get naked:
o.k. thats just the kit in the room, I can hear that.
hi-hat and snare sound like in the real world, although there is a longer ambience to the snare in comparison to the hi-hat.
bass drum relatively dry again.
Some kind of echo on the drums ?
The intro-crashes sound as if they had nothing to do with the rest of the kit.
They have an absolutely clean decay which is not in any way influenced by the drummer hitting away on the rest of the kit...?

Help me:
bassdrum dry, snaredrum wet, neverending crashes
heavy compression on them ?

Crazy Baby:
reverb on the side stick ?
(when snare is played „normal“ the reverb is gone, but again lots of room - ambience?)
ambience on the bass drum also this time ?
Do you use gating to apply reverb to one source only ?
loooong crashes - how did you do that? What kind of compressor is this ?
As the crashes are compressed to sustain that long and you have only used two mics for room pickup, then this must be one of the songs where the tom mics are on.
floor tom sounds close miced anyway on this track.
what about the snare drum when you use heavy compression on the cymbals ?
It doesn`t sound compressed to my ears.
Where does it get its room sound from then ?
Cause as you said, snare-ambience and cymbals are picked up by the same 2 mics?

The whole album sounds really tight.
What kind of compression did you use on the other instruments:
Bass guitar, acoustic guitar, electric guitar, keys... ?

Sorry to you and to everyone on this forum that this one became so extensive,
but you don`t often get the chance to communicate with the man who mixed and engineered one of your favourite reference records.

Thank you very much


wwittman 5th March 2005 09:44 PM


I'd have to go back and listen track by track to address the specifics of what you might be hearing.

But I definitely didn't do any gating.

As I've said before, the basic set up was:
SM-7 in the bass drum,
KM-84 on the snare except for a few songs where we tried the gefell 300 (model #?)
Gefell M-71s, one over the high toms and one pointing in at the low... but these are only ocassionally turned on.

and two Coles 4038's in front of the kit by about 6 feet or so and looking in at the kit from slightly wider, perhaps a foot outside the boundaries of the kit.
They're on stands about 4 feet high... about cymbal height.

The Coles were compressed slightly with i BELIEVE (memory is fading) an Audio&Design Recording stereo compex. But it might have been an early verison of the Daking compressors.
(I'll ask Geoff)

None of the other drum mics are compressed either to tape or later.
But of course the entire mix is compressed and so that has an effect on the drums ultimately.

The bass drum is covered in packing/moving blankets in an effort to keep it OUT of the room mics.
That's why you hear it as closer than the snare.
I always tend to like that effect.

I also quite likely, in the mix, shut off the close mics on the One Of Us intro, for example, and so you hear the High-hat only in the 2 room mics, so it sits in its position on the side of the kit.
But when the song starts and I turn on the snare mic, it probably tends to pull the HH apparently more into the middle (because there is hh leakage on the snare mic).

I also always look at the drums from audience perspective. Drummer's perspective just bugs me!

Spider Web had Omar Hakim overdubbed on it at Pie Studios, so it's a very different room and kit AND drummer.
He's also playing the kit using two marraccas (!) instead of sticks, which was Joan's innovation actually, and that certainly makes for an unusal sound.

Help Me was also recorded at Pie (not with Omar) so again the room sounds quite different.

Crazy Baby, I brought up the sidestick on another fader to EQ it differently and probably added some reverb to it as well (I'd have to listen to check) but still no gates.

Right Hand Man has a very distorted bass guitar sound... we were literally shredding the speaker on that take... so that tends to subtly make the whole record sound a bit grungy. But it's also possible that it was a track we tried the Gefell on and it may be breaking up as well. Most likely Andy is just playing hard on that track and you're hearing more tape saturation.
The Boom-Booms in the chorus are overdubbed , but the rest of the kit is played live.

There is never a high hat mic, so whatever stereo position you hear the HH in is determined by other mics.
When you say "panned" it's somewhat of a misnomer, as nothing much is really panned.
In fact I don't even turn on the pan pots on that desk usually.
Just use, the buss assign switches to assign tracks left, right, or centre.
So the bass drum and snare are centre, and the 4038's are left and right.
The tom mics, when they are used, are panned into as close to the same positions as they seem to be on the stereo 4038's as I could.

We also did sometimes change drums, especially snares, for a particular song so that also has a large effect... much more than anything I'm doing.

All the guitars and keys were Gefell UM70 or M-71 into Daking pres, usually with La2a's after.
And they are also almost always completely left or right. Except when they are centre!

The bass guitar was an RE20 on the amp and a DI with a dead simple radio shack transformer on a Y-cord to the amp.
I recorded it through API pres to DBX 160vu's to two tracks. The DI is almost never used (if at all).

Everything but the drums was tucked away out of the main living room.
Joan was on the porch, keyboard amps and leslie were in the bedrooms, the guitar amp was in the basement (so a tiny bit of rumble actually did come up through the wood floor), and the bass speaker was in a sealed box.
So the room mics are 99% drums.
Everything else could be made to sound quite present.

I wanted to pick up the atmosphere in the house, not necessarily for it to sound 'roomy' in a far away sense.
It's also an intimate record.

The whole record is 24 track, 15ips, on 456 at 0 Vu= +6 over 250nW/m (or what people insist on calling "+9" even though NO ONE references to 185 nW/m anymore <g>), on a Studer A827 at the house or A800 at Pie.

Mixed to the same alignment but on 499 for a bit more mix headroom, on an ATR-102

There's VERY little added at the mix. A bit of stereo delay/pitch shift from an H-3000 on the vocal and a bit of EMT 250 digital reverb here and there. But mostly dry.
Most tracks have no reverb at all; and I didn't have any set up to monitor with the whole time we were recording, just to be SURE it all was working just as is.

Hope this helps...
I'm happy to go listen and talk more about specifics if you like.
But I can only remember so much!

Waylon 5th March 2005 09:59 PM

Great Post

not_so_new 6th March 2005 12:54 AM


Originally Posted by Waylon
Great Post

I second that!!!! Thanks again for the insight William.

echorec 6th March 2005 01:03 AM


Originally Posted by not_so_new
I second that!!!! Thanks again for the insight William.

Me too, great reading! kfhkh

jonnyclueless 6th March 2005 04:31 AM


Originally Posted by wwittman
The whole record is 24 track, 15ips, on 456 at 0 Vu= +6 over 250nW/m (or what people insist on calling "+9" even though NO ONE references to 185 nW/m anymore <g>), on a Studer A827 at the house or A800 at Pie.

So you did use compression on the drums! ;-)

lamp 6th March 2005 05:12 AM

HTML Code:

The bass guitar was an RE20 on the amp and a DI with a dead simple radio shack transformer on a Y-cord to the amp.
Could you elabotate please. Whats pluged in to what?

84K 6th March 2005 10:33 AM

Great Stuff! Hey, what did you use as the 2 bus compressor? Thanks in advance!

echorec 6th March 2005 12:35 PM

Just curious: How do you place the KM84 on the snare?

toolskid 6th March 2005 03:34 PM

great posts mr.wittman

van Overhalen 6th March 2005 05:47 PM

Well, I`ve warned you ! (-;

Thank you very much again for spending so much time and effort in telling a
DAW- poisened, cheap - gear using wannabe how it has to be done !

I think that is my main problem here, `cause when I record I have sounds like yours in mind
and I spend hour after hour, day after day, week after week... trying to
make it sound at least a little tiny bit like that,
so it is really hard to understand that it doesn`t sound good `cause you manipulate it like mad, but you know where to place the mics in the room and you come up with all these nice little tricks like covering the bass drum with blankets or the hi-hat with a towel (I really love that, that is something that I can do myself and it is not that expensive, either!)
and what gear to use...

...ah, gear, that is a good cue (dictionary on my knee - is this correct?)

What kind of blankets do you use to cover the bass drum ??? Just kidding....

So I need some ribbon mics first (are the ones that you use omni?), or I could use both of my U67 ( the only real outstanding gear I own)
for drum pickup, then I need good pres: Api, Neve or Daking as you propose, or them first and then the ribbons ?
There is a rotten pool in my house, it is out of use and I played the drums there lately and it really sounds impressive there, but unfortunately the neighbors might not feel the same about it...and there is no heating in there, too...

I am a fool, I should switch to completely computerized, sample and VSTi-based music and end to that sound struggling ! (o.k. I know that they have their sound struggling, too !)

Last job that I worked on was a radio commercial, which should be based on the
Mah-na Mah-na (Du Du Di DuDu) - Song later used by the Muppet-show. I did a tune based on that and while I switched between the original and my version I had to recognize that the original 1977 full of tape hiss and rumble- version had punchier vocal and all around-sounds on it than my modern 32 bit floating-point stuff !

I am still outraged !

So, what do you think makes the difference ?
It is only for the last two weeks or so that I first heard the word „punch“ to be linked to a mic pre.
Is the difference to a cheap chip based transformerless design that obvious ?

While thinking about it, that drummer who played on „One of us“ , he really fooled me by constantly hitting the crash cymbal on the hi-hat side of his kit...

Thanx again


jonnyclueless 6th March 2005 06:38 PM


Originally Posted by van Overhalen
So I need some ribbon mics first (are the ones that you use omni?), or I could use both of my U67 ( the only real outstanding gear I own)l

I ue 67's for room mics all the time and get great results, simillar to the drum sounds on that album. Of course that is more dependant on the drummer and room than the mics, but 67s are nothing short of great.

wwittman 6th March 2005 06:56 PM

I'll get back and address more later...

but quickly:

I place the 84 quite close in, pointed at the point where the stick hits the head.. and I'm only a few inches away.
Angled to reject as much HH as possible.

U67's are great mics but a bit too brassy (they have that little presence peak) for rooms for my taste.
Love them on a guitar amp though.
On the really brassy sounds, to begin with, (like BRASS <g>, or cymbals and sometimes guitar amps) I tend to like ribbons.
they add some real depth.

The 4038's are figure-of-eight.
As areMOST true ribbons (the Beyer M-160 being the only example that comes to mind quickly that's not.. it's a hypercardioid, and my favourite mic if I need to add a ride cymbal spot mic, for example)

I don't hit the tape machine that hard, especially on drums.. the bass drum maybe peaking at about -3 and the snare at 0...
the reason i alignt he machine that hot is I like the TAPE to work hard, i don't like the sound of slamming the front end of the electronics.
But I don't drive the drums into much saturation, as I like the transients to remian intact.
But most of my sounds will peak at around 0 VU, even though that would mean they'd be +3's on a more typical 3 over 250 alignment.

wwittman 7th March 2005 12:22 AM

See, if it were me...
I'd probably take a different approach if all I had was one good mic.
I'd tend to place the 67 over the top of the drums and make that my main drum mic (VERY old school) and perhaps use something else for rooms.

as far as the bass on Relish.
We took a simply Y-cord (1/4" female phone in to two 1/4" male phones out) and plugged the bass into that.
Then one out went into the Radio Shack transformer (which was a barrel with a 1/4" in andan XLR out) and the other end went into the amp.
The amp was one of two Vox Ac100 heads we had.
Eric Bazilian owns one and I own one.
They're terrific sounding bass amps but notorious for overheating and blowing themselves up. Which they both, true to form did by the end of the project.
So we started with one, but finsihed with the other.
Geoff Daking even remembers us switching to an Ampeg head for the very end because the Voxes had both died.
I don't honestly REMEMBER that but it makes sense because I DO remember having to have Matt Wells repair BOTH AC100's after the end of the project. <g>

The amp fed a single 15" speaker that was built-into a wooden box that was sealed on both sides. So one side was the speaker baffle and was roughly the size of an Ampeg B-15 cab, and the other side was about the same size again housing the mic, sealed inside, looking at the speaker.
Mark Egan usually sat right on the box while he played so he could feel it, as he listened to his bass otherwise in headphones.

I don't remember what we started with in there, some kind of generic bass amp 15" like an Eminence, but it was shredded during Right Hand Man.
I've told the story before but Mark walked into the control room and we did the playback.
He kind of looked at us and said "is that bass sound alright??"
And Rick and I looked at each other and we said "we LOVE that bass sound".
Anyway, we went back to try one more take and NOTHING came out of the bass amp... the speaker was utterly gone.
So we took that as a cosmic sign that we had the take.

After that we put in a JBL which sounded better AND was a lot more durable.
I think we were only being cheap originally (or Geoff was, on our behalf).

The Help Me track was recorded at Pie, and we used their B-15 instead of the AC-100/silent speaker thing.
Still mic'ed with an RE-20 right up against the grill near the outer edge.

lamp 7th March 2005 02:27 AM

Ah. Verry cool info Mr Whittman. I have a radio shack barrel for bass but havent used it for years. The one I have has an impedence switch of some kind on it, I'll have to find it and try the Y. Ive also been planning on getting a BA-115. Anyone know if the new 115's are as good or unchanged?

wwittman 7th March 2005 09:01 AM

I'm not a fan of the new Ampeg 115 or B-15 resissue (which isn't a "reissue" in any REAL way.. it's a completely different thingy)

60's B-15's are still reasonably priced., And impossible to beat for just about ANY type of bass sound.

van Overhalen 7th March 2005 10:54 AM

I have already tried the very old school Beatle way of using one U67 above the kit (they used one AKG D19 for that, right? - at least that is what you can see on almost every picture in the Abbey Road Sessions-book), but I didn`t like the U67 for that...on the other hand, I once borrowed a AKG D19 and I can not imagine how they were able to make the cymbals shine while using this one...

There is this german store selling figure of 8 ribbons made in china for 130 bucks...
in a review I have read the reviewer said that they actually sound like ribbons...

I never thought that locking a speaker away in an all closed wooden box could actually work, especially for bass... thought there might be a good chance for the whole thing to explode or something...(-:
Not THAT much air to move in there, right ?

What about my mic pre question? big is the difference ?

What about the KM 184 they sell today ? Is it any good ?

And again:

Thank you Thank you Thank you !!!

Thanx Jonnyclueless, I`ll try U67 for room pickup...

toolstudio 7th March 2005 11:30 AM


a U67 as over-the-kit-mic should work if you are after that sound.
A D19 if it was that with what they recorded, needs a bit of eq'ing.

Pre's make a lot of difference in kind of punch in different frequencies.
My goto Pres for those things are APIs (312), NEVEs, HELIOS or Chandler TG2.

The new KM184 is a good bit brighter and harsher in the high mids and highs.
It is a great mic on its own, but no replacement for the KM84.

Don't tried the "130 bucks ribbon" and not interested either in that company.

I'm a ribbon fan and ribbon mics should bring you in that direction.
For drums and guitars I almost got exclusiv into ribbons.
I use all the AEA stuff (R84s, 44c's, R88), Coles 4038, Royer 121,...

But you must really appriciate that ribbon sound.



toolhouse studios, germany

not_so_new 7th March 2005 05:05 PM

I believe the "130 bucks ribbon" is the same as the Nady RSM-2 that some people seem to really like it


Hey van Overhalen do you have a link to the store that sells them? Do you know if they will do international shipping?

wwittman 7th March 2005 09:19 PM

A good mic pre makes a HUGE difference.

In fact, perhaps the biggest influence on the sound.

I personally prefer discrete Transistor pres with transformers in and out.

Relish was a mix (by necessity, it's not at all my preference to have a hodge podge, but we put together what we could) of API, Neve 1066 and 1081, and Dakings.

For the tracks at Pie, I used their discrete 8078 desk, only.

When The Beatles used only one mic over the kit it was still an STC 4038.

By the time Geoff Emerick started playing with adding more mics, he was using the D-19e's. Usually more than one, although only one often shows in the photo, as well as a KM54 on the snare.
The tube precursor to the KM84.

I don't like the KM-184 or ANY of the transformerless Neumanns AT ALL.
I don't use them unless it is literally the only mic in the place.

It's kind of another English 'school' of recording (rather than the abbey Road guys) that used the big diaphragm condenser over the high toms and often another aimed at the lows. Gynn Johns, Eddie Kramer... lots of people used U-47's often.
but 67's work as well (again with a bit more edgy-ness)

And lots of people used, and use, 67's or 87's on toms... so it's really only an extension of that.
Of course it's ALL taste.

van Overhalen 7th March 2005 11:24 PM

O.K. William, this time I am really shocked !

Where does this information about the Beatles using STC 4038 as overhead and KM54 on the snare come from?

You know I `ve read the books, I saw the pictures, I even read the recording sheets where they documented what gear they`d used for what song ( at least 2 or 3 examples shown in the book by Mark Lewisohn)
Even George Martin never mentioned these mics inhis biography called All You Need Is Ears.
All I `ve read and seen were those AKG D19s.

They cheated ! Faked photos and all that !

Man, this topic becomes an eye-opener of the highest order !

(Lately I read in a german studio magazin that they used U47s on drums as overhead...?)

Next thing you gonna tell me is that Ringo played Sonor and Paul was right handed all the time ! (-:

Anyway I`ll buy an API as soon as I have some cash, this one I really want to know now!

What about a good mic on snare that one can actually buy ?
And the Coles ?
Didn`t find them on the net.



van Overhalen 7th March 2005 11:29 PM

Hi not so new,

I looked for the Nadys,
they use another grill but the specs are the same.
Look at the mic is called T-Bone RB-500 over there.
They´ll ship all over Europe, I don`t know if they`ll ship to the U.S. though.


toolskid 7th March 2005 11:32 PM

you can pick up 4038s at funky junk UK (thoroughly recommended) , I havnt bought from any european dists so maybe one of the euro-slutz can chime in if you want to try close to home.

wwittman 8th March 2005 03:21 AM

There are quite a few earlier pictures of Ringo with the 4038 sitting in front of his nose.
That's more of a Norman Smith era thing.

When Emerick starts mic'ing the drums more individually he goes to the D-19's.
Geoff has said he used the KM-54 on snare... and it was an Abbey Road stand-by for a while after that until the 84 became that.

Brian Kehew is no doubt sneaking up on this thread about to pounce and announce his forthcoming book with all of its super-secret details about how The Beatles were recorded.

Meanwhile I can only repeat what's been told to me. Often by people involved, but still memories vary.

Coles 4038's shouldn't be hard to find.

chrisso 8th March 2005 09:47 AM


Originally Posted by van Overhalen
They cheated ! Faked photos and all that !
Man, this topic becomes an eye-opener of the highest order !

I'm surprised you're reacting so hysterically.
I thought it was a well known fact that many of the books about The Beatles are full of inconsistencies and innacuracies. It's also a well known fact that if you heard a story straight from a Beatle mouth, you could easily hear the same story 3 other ways (now sadly 2, Ringo and Paul).
I concur with wwittman, the only way to get remotely close to the truth is to talk to Emerick or Martin (I've worked with both). Many of the ex - Abbey Road/Air Studios guys are well versed in The Beatles recording methods too.
I'd trust those sources over any book.
FWIW, when I worked with Geoff Emerick in 1989 he was still using the Coles for overheads.

toolstudio 8th March 2005 10:08 AM


Originally Posted by van Overhalen
O.K. William, this time I am really shocked !

Where does this information about the Beatles using STC 4038 as overhead and KM54 on the snare come from?

You know I `ve read the books, I saw the pictures, I even read the recording sheets where they documented what gear they`d used for what song ( at least 2 or 3 examples shown in the book by Mark Lewisohn)
Even George Martin never mentioned these mics inhis biography called All You Need Is Ears.
All I `ve read and seen were those AKG D19s.

They cheated ! Faked photos and all that !

Man, this topic becomes an eye-opener of the highest order !

(Lately I read in a german studio magazin that they used U47s on drums as overhead...?)

Next thing you gonna tell me is that Ringo played Sonor and Paul was right handed all the time ! (-:

Anyway I`ll buy an API as soon as I have some cash, this one I really want to know now!

What about a good mic on snare that one can actually buy ?
And the Coles ?
Didn`t find them on the net.



That's what I thought,....

I always bring beatles together with coles/stc 4038 but I won't comment what
I don't know 100%, that's why I wrote "if they used the D19 for recording".

An API would help much for that what you are after.

For snare I'm still SM57 with a taped on KM84 for the heavy things sometimes
a C414 underneat, for some more jazzy stuff C414.

van Overhalen 8th March 2005 12:14 PM

Come on Chrisso, gimme a brake here...
just my kind of humor mezed
Don`t be afraid I can still hold my water (-:


van Overhalen 8th March 2005 12:17 PM

Hello Toolstudio,

thanx for your input.

where is Bebra ?

It`s a shame that there is no audio on your site...
I`d love to hear something.



van Overhalen 8th March 2005 12:42 PM


thanx for the link !

Normal Smith/Geoff Emerick- that`s "multo interessante" again.

As I`ve learned I should not trust Mark Lewisohn on this one - attention, that is me getting hysterical again ((-:

Do you know or can you actually hear when the switching was ?

The D19 sounded rather harsh and coloured in the highs and upper mids to my ears - still got the file where I recorded my kit with this mic - but as far as I remember it "a few dbs Smith"( I did read the book ! (-:) quit about White Album - time, cause he couldn`t stand the Beatle-Egos and the tension any more, so
that is where the sound changed, then ?

Do you know a Snare mic alternative to KM 84 ?

I know you don`t like SM57 or C414.

as always

thank you


wwittman 8th March 2005 05:30 PM

I don't really have a second favourite after the KM-84... it's so much a part of my 'sound'.

I've actually used U-87's when 84's were unavailable.
a bit harder to position though...

I believe Emerick came in for Rubber Soul.
It's certainly him on Revolver.

AIR (in Oxford Circus) had a very cool picture of Ringo on the wall with 2 4038's over his head and taped together to a drum stick between them.
Looked to be perhaps from the Sgt.Pepper or later days.