I am micing up a kit for a progressive rock band. The kit is a 4 piece, with large toms (13" and 18") and a deep snare. This is in a rehearsal space, about 10'x15', very high ceiling, pretty untreated. I have a couple problems that I believe I can fix, but the snare has me baffled.
The drum is quite deep, at least 8", the usual 14" diameter, and made from brass. I am getting an articulate and clear "crack," but the sound in the room has a punchy "pop" that I can not capture. I have tried a 57, a Beta 58a, and an I5, each as the single mic, top, bottom, and on the shell, as close as 1/2". The closest I can get to the punch of the room sound is with a mic just off the skin, right in the middle of the head (obviously, an unacceptable placement), but the sound is still quite anemic. The most accurate sound is on the shell, but again, with no body to the sound.
The OH's are 2 x 4050, in a Glynn Johns arrangement, and there is a SP B1 about 6' in front, centered, at the height of the top of the rack tom. The B1 actually has a decent amount of snare body, but it is too roomy to turn up much (they want an up-close sound).
Should I try a bass drum mic on the snare, like a ATM25? Might the SP just be better for this kit for OH? We experimented for about four hours, mostly on the snare, but the sound really didn't change much. Also, this has never been a problem in the past, so I suspect the drum. I would like to tune the snare deeper, but I am getting some resistance from the drummer. I am doing this as the last of my "favor-for-friends" jobs before I seek work from strangers, and he has been professionally recorded a few times, so I think he doesn't fully consider my input. It took a lot of work to even get a new set of heads on the kit.
Oh, and no samples atm, my rig is in the space.
The drum is quite deep, at least 8", the usual 14" diameter, and made from brass. I am getting an articulate and clear "crack," but the sound in the room has a punchy "pop" that I can not capture. I have tried a 57, a Beta 58a, and an I5, each as the single mic, top, bottom, and on the shell, as close as 1/2". The closest I can get to the punch of the room sound is with a mic just off the skin, right in the middle of the head (obviously, an unacceptable placement), but the sound is still quite anemic. The most accurate sound is on the shell, but again, with no body to the sound.
The OH's are 2 x 4050, in a Glynn Johns arrangement, and there is a SP B1 about 6' in front, centered, at the height of the top of the rack tom. The B1 actually has a decent amount of snare body, but it is too roomy to turn up much (they want an up-close sound).
Should I try a bass drum mic on the snare, like a ATM25? Might the SP just be better for this kit for OH? We experimented for about four hours, mostly on the snare, but the sound really didn't change much. Also, this has never been a problem in the past, so I suspect the drum. I would like to tune the snare deeper, but I am getting some resistance from the drummer. I am doing this as the last of my "favor-for-friends" jobs before I seek work from strangers, and he has been professionally recorded a few times, so I think he doesn't fully consider my input. It took a lot of work to even get a new set of heads on the kit.
Oh, and no samples atm, my rig is in the space.