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Old 16th December 2002
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Microphones as EQ's and further...

Fletcher, EveAnna, and whoever can chime in,

A long time ago when Enterprise studios in Burbank bought out Evergreen Studios to construct "E2" (formerly Ground Control, and Barbara Streisand's Evergreen studio before that) I got to do a session there while the place was literally still being reconstructed. There was concrete dust on the hallway floors and the whole nine. Anyway, the mic locker still hadn't been sent off to Audio Affect: the enterprise's sister rental company yet. I was tracking a live indie band, specifically drums, and had a plethora of mic's at my disposal. My assistant, technically a runner, wanted experience, so WE (yes, I helped) set up every mic I could find on the drum kit (over 50 mic's total, oh the phase, THE PHASE!!!). Keep in mind, they had just installed a 101 channel SSL 9000J so I had plenty of room to work. Anyway, while getting sounds, I looked at every Mic Freq response sheet that I had available (many company's do not provide these which is lame as hell IMO, Manley for example). This is a very valuable lesson no matter how matter times over the years you get a chance to do it.
Not only do mics act like different "eqs" but they have different responses. For example, I loved not only the eq sound, but the dynamic response of 414 EBs on toms, something I hadn't really tried. More recently I discovered the Royer 122's on horns, where I use NO eq or compression.
What comments do you have as far as mic to use that minimize the use of other gear in the chain? I like the EQ on the SM57 on snare, but an Earthworks or Sony 800g has a better response top to bottom on it. Does that make sense to say? If I'm doing a "Little Drummer Boy" snare drum solo, these mic's come in handy, but for drum kits, the 57 goes on my snare first. Comments?