I don't like the idea of using more than one, but on my last recording, my wuhan china was a rabid monster and I'm wondering how to fix that (I fixed it by....playing softer...like how you should ). Here's a big STUFF YOU to the drummer that stole my 22" wuhan china - that was much smoother if not less loud.
What is your cymbal setup, a philosophy statement (how do you try to get/capture some particular cymbal sound?), and how does your micing technique of cymbals work with that?
I have a 4 piece set, with hats, crash, ride, and when recording, a china. I like one mic per drum, and one mic for all cymbals. I don't like big mic setups. Last session I put it directly overhead above the edge of the ride/bass drum on my 4 piece, aimed at the snare drum. Get a great hat sound, crash sound, ride is soso, china (to the right of ride) is too harsh by its own design.
Vote twice if appropriate! Votes are public so you can match up cymbal setup with mic setup.
Count cymbal close micing as O/H's
What is your cymbal setup, a philosophy statement (how do you try to get/capture some particular cymbal sound?), and how does your micing technique of cymbals work with that?
I have a 4 piece set, with hats, crash, ride, and when recording, a china. I like one mic per drum, and one mic for all cymbals. I don't like big mic setups. Last session I put it directly overhead above the edge of the ride/bass drum on my 4 piece, aimed at the snare drum. Get a great hat sound, crash sound, ride is soso, china (to the right of ride) is too harsh by its own design.
Vote twice if appropriate! Votes are public so you can match up cymbal setup with mic setup.
Count cymbal close micing as O/H's
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