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Same thing happened to me when I got my 22-2. :) Looked at the heads and flipped out... but decided to clean anyway. Turns out, my heads are near perfect. What a scare though...

I have to prep a master tape for the mastering engineer tonight. It's the first project I've done on analog (outside of recordings I made in school, back in 1990). So I tore my house apart looking for my splicing block, and never found it. And of course, nobody in town carries them anymore...

The hub might not be straight.

I'm selling my Mackie 1604 VLZ Pro (XDR Preamps). It's about 2-3 years old and is in excellent condition, aside from a cosmetic blemish on the rail below the faders (some of the grey finish came off from tape). The only noisey pot on the board is the Control Room volume... nothing that will get...

http://tinyurl.com/8ebzb

Probably because concert bass drums are mounted on a stand and played with a mallet. They don't get much abuse. A drumset bass drum, on the other hand, sits on the ground, is held in place by spurs, and has a pedal attached to it (and often, a tom mount). I've seen tom mounts on thin bass drum...

I've got a pair of old Altec M20 tube SDC. I could record a whole album with them, I love them so much. :)

Whew. I thought you were serious about that! :D Harvey's lurking in this thread... maybe he'll chime in on this one. PS: Love the Twin Peaks avatar. From one of my favorite episodes.

No offense, but that's like saying an RE20 sounds the same as a 635A, just because they're both made by EV. They aren't the same, and neither are the SM7 and SM57. Otherwise, why make two mics?

Here's a sample from a recent recording of mine. The SM7 was used for vocals. The preamp is a Mackie VLZ Pro. I mixed it through a Studiomaster 16-4-2 board to 1/4" tape. http://www.citizenkeith.com/sample/friends.mp3 We wanted to keep the dark quality of his voice, not thin it out with a...

Well, when I used a four-track I was experimenting and recording TONS of my own music. As soon as I delved into computer recording, I very rarely do that. I've been recording my band or my friends instead. I've been thinking about picking up a cheap Tascam or Fostex 4-track, just to make the...

nuemes, You're in or near Seattle, right? I'm sure you have a Guitar Center or similar store in your area. You should go there and audition some mics. If they have a quiet room where you can test some mics, you'll be able to narrow it down easier. Another option would be to put two or three on...

I don't think a lot of the suggestions here are considering your requirements. Except for freshmattyp, who I totally agree with: Shure SM7 or EV RE20. Heck, have you tried the SM57 or SM58?

Indeed, it's a very deserving thread. :D

Has anybody tried this setup with this variation: a couple feet in front of the bass drum, place another bass drum, with only one head that faces the kit. On the open side, place a mic pointing towards the kit (i.e. towards the head on the open-ended bass drum). I did something like this last...

I agree with cool-on. Beta 52, D112, Audix D6 all have that punchy modern sound.

What kind of music are you recording? I don't own the ATM, but I do like it's sound. I am also a big fan of the Audix D4 (the D6 is more like the D112). Both the ATM and the Audix are fairly natural-sounding. It all depends on the drum and the style of music.

Duct-tape a quarter to the area where the beater hits the drum head. It won't be overly-clicky, but it will cut more.

10" is way too shallow. I'd go with 14" or 16". IMHO, 14" speaks fast and has a nice tone. 16" and 18" will sound deeper, and may require a harder hit to project.

I love the birch Starclassics. I've been drooling over a red-sparkle fade lacquer kit. :) The Regulator is the perfect mate for the Super Kick. You know how the Super Kick has that felt around the perimeter? The Regulator has a much smaller felt circle, right in the center. These two heads...