Problems with micing Congas and Bongos

J

Jonari

New member
I'm using an Audio Technica 4045 mic, Samson Q mic(pair), Samson condenser mic (pair), a Shure SM58, and an Audio Technica stereo mic to record a pair of congas and a pair of bongos (not all at once, just experimenting around). I have tried putting wood on the floor, moving to a room with tiles, changing to a bigger room but I cannot get that deep boom or nice rim pops that I want. I have also tried changing mic location (up down, far close) but that isn't doing it either. Do I need better equipment? I'm running the mic into an Edirol FA-101 then into Logic Pro on my Mac. Any suggestions?
 
i have had great success using a kick mic (beta 52) inside the bottom hole or the hand drum and a sm57 at the top batter. You could probably just had the beta 52 or audix d6 to the condenser you have and it would be golden.
 
Even the Sm58 will do. rims pops? Are you refering to the slap? or muted slap?
You probably guessed, but you wil lnot get a boom, from the bongos.
For the segun(larger conga), you could get some of the bass tone if you use the correct technique. Use your palm at the center of the headand sort of poush into it, do not let it bounce. Otherwise you normally do not get a boom from the segun. Maybe a djembe? Now if you want more beef from the lows, try putting them on stands, and move a condensor out (about 1') & up(about1-2').
Or try gcapel's method. If you don't have a large diaphram dynamic, you could use the 4045? cut the mid highs a bit to cut the hollowness. You may need to reverse the phase.

T
 
It takes a lot of equing to get them slaps son,and when u get them they will not sound good anymore :D

Sm 57 and 58 suck at it,they sound too sterril for the bongos,trust me i tried many times.Try cheap condenser,but make sure u dont have too much reverb in the room,the hand perc instruments love to create a lot of reverb.
 
Depending on the tune, drummer, room, tuning. You probably don't even need any eq at all. Mic placement is key. If your room is OK, you could try a omni. BTW whats a AT4045? do you mean 4050? or 4040?
It takes years to get a good slap and muted slap. You just don't bang on them like many of you may think.
On progressive, modern stuff I HP the low end @ 100hz,. If I want more crispy slaps(detail) boost about@ 5khz. Though the open slap fundamental is @ 1khz. Its fun messing wit the snare/slap, somewhat realted to the kick and bass issue-of course at a different setting.
T
 
If you have access to a ribbon mic that operates in the Figure 8 pattern try putting it between the two drums... usually works like a charm [I'm a big Royer SF-1 fan for that particular application].

Best of luck with it.
 
For congas, I've found a nice, overly warm mic like an SM58 on the floor (in the blow zone) really picks up the warmth. Add to that a brighter, more responsive condenser from the top. Adjust the distances and mixture to suit.

Actually, now that I think about it, I think the last time I miked congas, for the top mic, I used a Unisphere III (Shure 565SD) at a few inches from the top, just between the two congas, pointed straight down. And a PG58 (a very muffled mic) with a foam filter (muffling it further) on the floor. Gave me that rich warmth from the bottom while the brighter old dynamic gave the edge for the slaps. YMMV.

No idea for bongos. I have a set, but I haven't tried recording them for anything yet.
 
Harvey Gerst said:
Why the hell are you miking them in stereo? Put an omni about a foot above them, and hit record.
Click to expand...

I like small diaphragm omnis - like the Earthworks QTC's. But I don't see what's so bad about recording them in stereo - I always do.
 
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