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here's how i'd look at it: the black panther premium snares (not this one, the higher-end ones) are proven workhorses. everyone who has one loves it (myself included). OCD i know nothing about--i've heard they're overpriced and that is the one and only thing i've ever heard about them. but what...

the other socket on the base appears to be a usb output, like you'd find on a digital camera. it's like you have the input for the gooseneck mystery device, and then an additional input and output on the base. strange. i have no idea what the hell that thing is. :confused:

honestly, if you don't know what the purpose of something is, then you have no business buying it. don't buy stuff just because you have the money to. buy it because you know exactly what it will bring to the table. what do you NEED? that's the question. what are you dissatisfied with in your...

i would've joined this forum a hell of a lot sooner. what i've learned in 3 years here has been exponential. the previous 9 years of recording was more of an arithmetic progression. very simple arithmetic at that. as in, 0+1=1 in '97, 1+1=2 in '98 and so on.

you could try hitting it at intervals of 3 within the context of 16th notes, leaving the last of the 16 beats without the hit. it's a pretty cool effect and has a mellow latin kind of feel. or sort of a bossa nova i guess. like this: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 and repeat. or...

wow, i certainly wasn't expecting THAT answer when i started the thread!!! :D (j/k, i realize it's obviously more complicated than that) seriously, guys--this has been an education and i really appreciate it. i'm gonna have to read this thread several times and keep re-reading the stickies...

gotcha. that makes a lot more sense. so let me make sure i understand the full answer to my original question: 1. large diaphragm dynamics can handle massive spl. 2. large diaphragm condensers don't do well with low freqs to begin with, so to that end the large vs. small debate becomes moot...

thank you so much man. i've read this a few times now and i'm gonna keep going over it until it really solidifies in my mind. plus, your post clarifies ms' post that confused me so much.

someone else had mentioned marketing in another thread, and it seems to me that there must be some practical purpose for it. LDDs have been used for kick mics (afaik) long before the average ignorant joe (like me) would even consider buying a microphone. as for proximity, i don't see how that...

response #1: ok, you have me on a technicality, but the VAST MAJORITY... resopnse #2: fair enough. even with a D6, i boost @ 1.5k for more click. but your answer goes right to the heart of what i'm asking--by rejecting more highs, isn't the LDD more effectively capturing the lows? response #3...

first response from harvey!!! WOOHOO! i feel like i've hit the jackpot, and you even have to think about it!!!! man, i'm stoked for this. thanks for dropping in, friend. :)

i recently got busted in the drum forum promulgating the popular myth that larger diaphragms reproduce low frequencies better than SDs because of the physical size of low freq waves. :o while i have repented for these high crimes and misdemeanors, and after re-reading a lot of the "mic design"...

overloading a mic isn't the same as peaking. if the sound source is too loud for the mic's diaphragm or electronics to handle, the mic itself will distort, so while you're not clipping the recorder, you are recording a signal that was already distorted when it arrived at the channel input, if...

lol, and let me throw you a REAL curveball on this issue: what about subkicks? how do those fit into the "size doesn't matter" scheme? :eek:

so i went back and re-read some of the sticky, and it's pretty clearly stated that you and phil are absolutely right on this point. what i don't get is, if a small diaphragm will capture low freqs every bit as well, and even more accurately, than an LD, then why is every single kick drum mic on...

lol @ the "cousin" story...yeah man. my cousin hooked me up with heidi klum, and i totally gave her the high hard one that night. it was just as sweet as you'd imagine. and you can believe it, because i said so right here. yeesh.

how dare you call into question the credentials of darrin h2000? after all, he's been hanging out at this website since 2001, which obviously backs up his claim that he's a total professional engineer! he's been involved with countless, multi-platinum...yet unnamed...projects--but that doesn't...

idk, i'm pretty sure i read that in "total recording" by dave moulton. i suppose there's a lot of conflicting info out there, and i don't wanna contradict harvey...:confused: and i don't think it's so much a matter of being able to pick them up, i think it's the relative effectiveness of that...

lol. and still no word on what rich, famous, and genius engineer you are. forget citing clients. why not 'fess up your own name and some verifiable credentials if you are who you claim to be? my guess: you're a nobody. you probably fetch coffee and dust the big bad 24-channel behringer console...

lol, i'm lucky you "steered" me to the line 6 website for accolades from paid endorsers? feel fucking happy i'm willing to not report every one of your ridiculous posts as spam. quit while you're ahead dude. you lost. you may believe in the toneport, and you may or may not be a "pro"...