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Thread: Home studio drum recording - eclectic, busy music, feedback wanted

  1. #11
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    Quote Originally Posted by oddfodder View Post
    When you've used it without a front skin, do you just sit it inside the BD (pointing down?) towards the open end?
    Do you mean the sub kick? no same place as the photo but the skin is not there.

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    Cool, thanks. Which BD mic(s) do you prefer? As I said above, I have a 421-D and a 451-B but was thinking of buying a mic specifically made for BD & bass.

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    recordinghacks.com has a BD mic comparison with examples so you can pick what will work best fort the type of genre. The most popular Audix, AT, Shure and AKG all sound differently and to me they're timbres tend to be associated with different types of music
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    I use a AKG D112, some people don't like them but it works for me. I also have a vintage AKG D12 which I also like, give more of that Beatle era or Jazz sound. AKG have released a new version D12 VR which has different settings for vintage or modern sound, not cheap. However I have also used a 421, and even an SM57. You know an SM57 or SM58 and the sub-kick setup could be interesting. You could use the snare under mic to give that a go, by the way I use a cheap pencil condenser under my snares, sounds great.

    Alan.

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    Thanks for the info. I like that mic comparison over at recordinghacks - that's (along with some other articles) where I narrowed it down to the EV N/D868 or Avantone Pro Mondo if I buy something. I find it hard to distinguish what might work best for "my" type of genre if I do buy something - people tend to put us in the prog rock category but we're nothing like the pompous prog bands of the 70s. We have a lot of psychedelic, avantgarde and fusion elements and tend to have a jammy rather than over-produced sound.

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    The reason I brought up genre was not to get too deep into it but to point out that where the bass guitar and kick drum sit in a mix differs substantially at times depending on genre. Is the plan to have the kick forward or back, rock&roll papery, dance style boom etc, and are the bass guitar parts purely rhythmic or more melodic, and which is going to take the very bottom of the spectrum , cause both doesn't work easily. So orchestration/arrangement decisions for the kick/bass blend inform whether your mic needs to emphasize "boom", "body" or "pop" or just a fairly flat representation that will take eq easily to fit as needed. It's why I have tried so many different combinations of mic on the kick-getting it to fit the arrangement before mixing is just a step saver. If I can get away with a couple small eq moves and some compression to get it to sit right I've saved time. Right now I'm using the D112 on the outside and, some 90's era Fostex dyn vocal mic as an inside mic cause the combination between them and the "slap" in the o/heads melds together for the sound I want
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    Quote Originally Posted by Gtoboy View Post
    Right now I'm using the D112 on the outside and, some 90's era Fostex dyn vocal mic as an inside mic cause the combination between them and the "slap" in the o/heads melds together for the sound I want
    When you say outside & inside, I assume outside=resomsnce side and inside=batter side or are you saying you use the D112 on the batter side? The chapman stick (we don't have traditional bass) does play melodies as well as rhythm. Because we are a 3-piece with a lot going on, both the low-end of the stick and the BD are critical. I'm planning that we need to carve out space in each other's EQ to allow for both, though at this point I'm not sure which will have (for instance) 70-80 Hz as the sweet spot and which will have 100-120 Hz.
    Last edited by oddfodder; 02-26-2019 at 06:43.

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    Quote Originally Posted by oddfodder View Post
    When you say outside & inside, I assume outside=resomsnce side and inside=batter side or are you saying you use the D112 on the batter side? The chapman stick (we don't have traditional bass) does play melodies as well as rhythm. Because we are a 3-piece with a lot going on, both the low-end of the stick and the BD are critical. I'm planning that we need to carve out space in each other's EQ to allow for both, though at this point I'm not sure which will have (for instance) 70-80 Hz as the sweet spot and which will have 100-120 Hz.
    Forget batter side, both mics are in front of the drum, the inside mic goes in via the hole in the front skin, the sub kick sits in front of the front skin.

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    thanks - I've never tried that. If I've had a 2nd BD mic it's always been placed on the batter side. The one inside gives you that extra click then.

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    A year or so ago my Sweetwater Pro contact let me in on a special sale they were having on the EV N/D 868 mic you listed as perhaps wanting to add. Mind you, I own several really good kick only mics and a bunch of others that will work on nearly any kit and style imaginable. The EV is now my go-to kick drum inside mic. It has everything an Audix D6 has, everything a D112 has and everything a Beta 52 has and none of the things that lead you away from these mics after a while. It's very articulate while keeping the low-end under control while still HAVING the low-end.

    I would mic your kit as has been described to start. The 87's as overs and in any pattern you'd like really. 87's are one of the best overhead mics I've ever used and I have 100's and 100's of hours on a pair from this purpose.

    I would close-mic the snare with the Sennheiser. MD421 is "snare". Roll the ring to 'speech' just for fun.

    I would spot mic your toms with the 58's and the 57 but not necessarily on top or in tight. You're going to get "impact" from the overheads. But the toms will decay rather quickly over the time in this distance. (make sense?) So a spot mic specifically tailored to the tone of each tom. You won't need a lot....just to enhance the overhead capture and give you something @ mix.

    The 414 should be a room mic. And I would use the 441 as what I like to call an area clarity mic. I usually put one 4' out from the kit about chest high and angle to taste. Almost like the listen to kit from the front spot.

    Micing a kit is all about placing mics where you hear things rather than where you think the sound should go. Drumkits all project as differently as the player and the tuning and the style being played and this is where you adjust things to. If you are engineering as well as being the player, yu need to enlist someone to play while you move mics to sweet spots. If the tuning and the placement in the room is right from the start then the LESS signal chain you have to use will enhance the drums capture significantly. When people talk about a "great room" they are talking about the drums sounding superb without any help from EQ,compression or some sort of repair to start with. Tuning, position in the room, gobos, and mic placement can do everything without the use of electronic crutches.

    Makes the mix so much easier.
    Last edited by cavedog101; 02-26-2019 at 15:59.
    Chord with this, Teddy......

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