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

  1. #21
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    Quote Originally Posted by oddfodder View Post
    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.
    Thats right, the closer you place it, generally more click and less bottom end. There is always a magic spot so you need to move it in and out of the drum.

    The mic on the inside picks up the beater better than having a mic on the pedal side, when you think about it it's only the drum skin isolating the beater sound, and having it inside the drum lets you position the mic in a much better place.

    I use the sub kick to pick up more air pressure to move the speakers and add sub to the kick, by blending the inside mic and the sub kick (speaker) you can add low end body. I have also set up with a D112 inside the kick and a large Diaphragm condenser on the outside instead of the sub kick speaker. This has a different sound but still picks up extra low end of the kick drum.

    Alan.

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    By the way, Snare, I always used to use a SM57 on snare, I have a modified one with no transformer which is supposed to sound better, I don't know really but I have one. Te one advantage of taking out the transformer is the mic signal level comes down a bit which means you don't have to pad the snare signal. I also have a standard SM57 that sometimes got the job. However I bought a CAD TSM411 on special one day (as you do LOL) tried it on the snare and YES, its now the go too mic for snare great sound and it seem to have better rejection of sounds around the snare, and you can get it cheap too.

    Alan

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    I pretty much quit worrying about kick drum sound via mics. I went through the whole tunnel building and multiple mic setup. Now I just use a D112 and Steven Slate Trigger. Saves so much time and money...
    PC Win7-64-24G i7-4790k/Cubase 9 Pro 64-bit/2-Steinberg UR824's/ADAM A7x/Event TR8/SS Trigger Plat Deluxe/Melodyne 4 Studio/Other things that don't mean anything if a client shows up not knowing what it wants.

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    I don't know, there is something satisfying about getting a good drum sound without samples.

    Alan.

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    Quote Originally Posted by witzendoz View Post
    I don't know, there is something satisfying about getting a good drum sound without samples.

    Alan.
    I hear you and agree. Just kick drum...
    PC Win7-64-24G i7-4790k/Cubase 9 Pro 64-bit/2-Steinberg UR824's/ADAM A7x/Event TR8/SS Trigger Plat Deluxe/Melodyne 4 Studio/Other things that don't mean anything if a client shows up not knowing what it wants.

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    Quote Originally Posted by jimmys69 View Post
    I pretty much quit worrying about kick drum sound via mics. I went through the whole tunnel building and multiple mic setup. Now I just use a D112 and Steven Slate Trigger. Saves so much time and money...
    Love my Slate Trigger. And yes, sometimes for brevity with quality sake it's whats on the plate. If it's my intention from the get-go to 'replace' I use an Audix D4. It bleeds NOTHING
    Chord with this, Teddy......

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    Quote Originally Posted by jimmys69 View Post
    I hear you and agree. Just kick drum...
    LOL, use my micing technique and tune the drum properly and you will never look back.

    Alan.

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    Quote Originally Posted by cavedog101 View Post
    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.
    Thanks alot cavedog101 and everyone who's been weighing in. Cavedog - I really appreciate the specifics of your comment, gives me a lot to think about. Where do you usually place the room mic (414)? When you talk about micing the toms but say "not necessarily on top or in tight", do you mean mic them from underneath? If so, this would need to be close, no?
    Interesting that you really like the 421 on the snare as so many like the 441. I had pretty good luck with a 57 on top and the 441 on the snares but it did require some EQing, which would be nice to avoid if possible.

    @witzendoz - I'm really interested in the subkick thing. This is brand new for me so I"m still trying to wrap my head around how to do it.

    My approach up to now RE: triggering is that I'm trying to record the best sound I can and if later I feel it's lacking, that's when I turn to a trigger.

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    Quote Originally Posted by oddfodder View Post
    - I'm really interested in the subkick thing. This is brand new for me so I"m still trying to wrap my head around how to do it.
    Basically a subkick is a speaker that has a XLR cable attached. For example if you took the female end off a mic cable and then soldered the wires to the speaker. Rd to the speaker positive and the Black (sometimes white) along with the shield to the speaker negative. This makes an unbalanced mic out of the speaker. Don't worry about it being unbalanced as the signal from the speaker is much louder than a mic so if there is any noise from the unbalanced cable (which I don't think anyway) it will be very low in the noise floor. If you mic inputs do not have a pad, you may need to pad the signal from the speaker, I have an inline -30dB pad, but a -15 or -20 will probably do it. You can pad the input by using a few resistors if you are soldering savvy, this site is useful Link

    By the way I use a 10" speaker that I had laying around, but you can use a 4" 6" or 8" what ever you have.

    Alan.

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    Quote Originally Posted by oddfodder View Post
    Thanks alot cavedog101 and everyone who's been weighing in. Cavedog - I really appreciate the specifics of your comment, gives me a lot to think about. Where do you usually place the room mic (414)? When you talk about micing the toms but say "not necessarily on top or in tight", do you mean mic them from underneath? If so, this would need to be close, no?
    Interesting that you really like the 421 on the snare as so many like the 441. I had pretty good luck with a 57 on top and the 441 on the snares but it did require some EQing, which would be nice to avoid if possible.

    @witzendoz - I'm really interested in the subkick thing. This is brand new for me so I"m still trying to wrap my head around how to do it.

    My approach up to now RE: triggering is that I'm trying to record the best sound I can and if later I feel it's lacking, that's when I turn to a trigger.
    I do like the 441 on snare and I do have one but rarely if ever use it for that anymore. I have much better choices these days. But for your kit and description of the style, the 421 is going to give you more 'body' on the snare just micing from the top and also I feel that in an "okay" room that the 441 would be a better choice as a "look-in" mic from the front of the kit....sort of another enhancement of the overheads kit sound in general.
    The 414 as a room mic should be placed where you hear the 'focus' of the kit come together in the room. This means someone playing while you walk around and listen. You'll know it when you hear it. Use it in Omni.

    You can mic the toms from the bottom. Again, these mics are simply a tonal enhancement for the overhead kit sound. Because the the toms will decay fairly quickly in the overs imagery, these will be just to add some more tom direct sound to the mix. You really won't have to turn them up too much just capture each toms tonality. So these mics will be carefully EQ'd to each tom they are enhancing. Like I said, the impact on the hit will come from the overheads.

    I too, use a 57 on most of my snare tops. But my 57's are all made in the 60's and sound a whole lot different than what you find these days. I also like a Beyer 201 on the snare top but will only use it with a very accurate drummer. An Audix i5 is also a good snare mic. But my suggestions were based on what you have and your general description of the room and what the sessions will be like.

    As has been suggested....tuning and placement in the room are number one before you ever string a cable.
    Chord with this, Teddy......

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