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artistt
New member
I just bought congas a couple years ago..I am working on them as a new instrument..and I would like to know if anyone can suggest a great way of micing them? 
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mikeh
New member
The most common method is to close mic the head of the conga about 6" from the head (just like close mic'ing a drum set).
A Shure SM57 is still considered a good mic for clsoe mic'ing a conga. Some people place a 2nd mic near the floor to capture low end, but given that as a rule you want the conga to cut at a higher frequency than the drums, the low end mic does not seem important.
A Shure SM57 is still considered a good mic for clsoe mic'ing a conga. Some people place a 2nd mic near the floor to capture low end, but given that as a rule you want the conga to cut at a higher frequency than the drums, the low end mic does not seem important.
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artistt
New member
o.k
good answers..
well, I have a rode k2, 2 audiotechnia 4033's and some shure mic that I never use..
it isn't a good one..
How close to the bottom of the congas do you think they should be?
good answers..
well, I have a rode k2, 2 audiotechnia 4033's and some shure mic that I never use..
it isn't a good one..
How close to the bottom of the congas do you think they should be?
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mikeh
New member
I've only mic'd (or had others mic) the bottom a few times (and then normally ended up either rolling off some lows or simply kept the fader down - which kind of defeats to effort) but I normally have the mic about 6" from the drum.
In the studio, I am a fan of using an area mic to mic the congas (if the conga track is recorded alone to avoid bleed from other instruments). You may find the 4033 would give you a good area mic sound - perhaps better than close mic'ing.
When possible, I always like to area mic accoustic instruments - part of the way sound develops is with space. Close mic'ing a drum captures attack but not much resonance - area mic'ing can capture both (but does require more effort for the right mic placement). It all depends on what you what the conga to achieve - in most cases you don't want/need the conga to take up too much sonic space (thus the high end attack is the main thing to record).
In the studio, I am a fan of using an area mic to mic the congas (if the conga track is recorded alone to avoid bleed from other instruments). You may find the 4033 would give you a good area mic sound - perhaps better than close mic'ing.
When possible, I always like to area mic accoustic instruments - part of the way sound develops is with space. Close mic'ing a drum captures attack but not much resonance - area mic'ing can capture both (but does require more effort for the right mic placement). It all depends on what you what the conga to achieve - in most cases you don't want/need the conga to take up too much sonic space (thus the high end attack is the main thing to record).
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Thorguitarist
New member
Hmm I'd use the Rode mics...those are good...Maybe X/Y over the top of the congas and might want to experiment with throwing a mic under them as well...to get the full conga sound...Good luck
capnkid
Optimus Prime
Keep a goin' down the road a peice, then turn left at the barn that burnt down last year, go two miles then on right. That's the bes way I know to Mike Conga's.
dgatwood
is out. Leave a message.
Thorguitarist said:
Personally, I like a nice, dull PG58 with a foam windscreen on the ground below it (literally sitting on the carpet for maximum distance---probably 15 inches below the bottom of the pair) with a brighter dynamic up above the top to pick up the sharp, percussive hits from the head side. Drop the bottom mic down to about 25% volume or so, and kick them both slightly off-center in opposite directions.
Dunno. Maybe it's just me.
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RVLVNGDRS
New member
im wondering...someone mentioned close mic'ing with SM 57s...
would it be a good idea to use a Beta 57?
would it be a good idea to use a Beta 57?
A
artistt
New member
thanks for your advice
if you have any other ideas please let me know.
and I am looking for a drummer who can play progressive music...and flexible.
if you have any other ideas please let me know.
and I am looking for a drummer who can play progressive music...and flexible.
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mikeh
New member
A Beta 57 would work much like a standard 57.
artistt - I can touch my toes without bending at the knee and rotate freely at the waist, and I do stretch before playing - but what does flexibility have to do with drumming????
I normally want my women flexible, but not my drummers
artistt - I can touch my toes without bending at the knee and rotate freely at the waist, and I do stretch before playing - but what does flexibility have to do with drumming????
I normally want my women flexible, but not my drummers
K
keithsplace
New member
Try them all...
I've tried about everything to get that elusive conga natural sound.
Every thing from an overhead drum mic to close micing with 57's or better with my favorite, Behringer C-2's at about 6" off the front at an angle.
I also use the sweep mids to drop the bottom lots of mids and highs, run it threw a fast decay slap back verb, and it sounds like a conga only amplified... I think.
Now for a drumming party with you can add a 57 underneith, but this is only if you need some bottom, like an acoustic set up with only conga's as rythem.
I've tried about everything to get that elusive conga natural sound.
Every thing from an overhead drum mic to close micing with 57's or better with my favorite, Behringer C-2's at about 6" off the front at an angle.
I also use the sweep mids to drop the bottom lots of mids and highs, run it threw a fast decay slap back verb, and it sounds like a conga only amplified... I think.
Now for a drumming party with you can add a 57 underneith, but this is only if you need some bottom, like an acoustic set up with only conga's as rythem.