questions about miking drums on a budget

Promkingdrummer said:
When I get a better soundcard, what all do I need to look for in purchasing one, are there a specific amount of inputs/outputs that I need, and do they need to be RCA jacks or 1/4" jacks, or does it matter. Thanks for all the help.
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Plan on the number of inputs you need. I only have four and find it extremely limiting, but I couldn't afford more when I bought that card almost four years ago now.

Balanced inputs are preferable but not worth re-mortgaging your house for. The M-Audio Delta 1010lt is superb value with unbalanced inputs and no breakout box but still very respectable converters for the money.
 
I was looking into the MXL 603's as overheads to pick up both the cymbals and the toms, but somebody told me to beware of the 603's because they pick up the cymbals really bright and well but they dont have enough low end to pick up the toms, especially the low tom. Is this true, and if it is true, can I place them differently so they get the toms too, or can I use one of these in combination with another overhead that has a little better low end pickup? One more question before I go too far, which does everybody think is better for overheads to pick up both cymbals and toms, the MXL 603's or the B1's (or any other suggestions for overheads would be great too). Thanks for all of the help so for.
 
There are quite a few threads discussing MXL603s and B1s against each other for OH. Either would be fine. B1s have a wider cardioid pattern than the MXL603s, which may or may not be to your benefit. It makes placement easier, but it won't help your track seperation. So you may end up with a slightly "airy-er" sound which would be more useful in jazz and acoustic rock settings than in metal and the very stylised pop rock we have at the moment, where everything is much more contained.

So the answer is, I don't know, it depends on you, but you won't go far wrong with either pair.
 
noisedude said:
There are quite a few threads discussing MXL603s and B1s against each other for OH. Either would be fine. B1s have a wider cardioid pattern than the MXL603s, which may or may not be to your benefit. It makes placement easier, but it won't help your track seperation. So you may end up with a slightly "airy-er" sound which would be more useful in jazz and acoustic rock settings than in metal and the very stylised pop rock we have at the moment, where everything is much more contained.

So the answer is, I don't know, it depends on you, but you won't go far wrong with either pair.
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Nik, I thought the 603S has a wider cardioid pattern, wider than the B1 which is pretty rejective.

http://www.mxlmics.com/condenser_mic/mxl603s/mxl603s.htm
 
Really? Sorry ... I don't actually know the 603S, I just assumed it would be tighter like the other SDC in this range tend to be. Well then reverse my argument for getting the 603S into getting the B1 instead ...
 
Middleman said:
I would go with the Yamaha SKRM100 SUBKICK - $229 and can be used for kick or bass. More versatile than the AKG D112 although this is a great kick mic.
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i beg to differ the yamaha mic IS good but it wont do well by itsself since it doesnt have much of a high frequency range but more of an extended low frequncy (its a speaker in a drumshell wut do you expect)
So really its versatility is good when you want the rumbeling kick sound but you gotta fill the high end in with a regular kick mic or something.
peace
 
Small condensers can pick up all kinds of bass. You can do a lot of tweaking with mic position to change how the recording sounds.

The Rode NT5 condensers are smaller than the 603s, but they're supposed to be darker mics. Wide cardioid or omni will be more forgiving with mic placement.


sl
 
The NT5s are pretty good but I prefer my C4s. Both are quite a bit more expensive than the JM27/MXL603 or SP B1 though.
 
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