How would you mic a kit w/ these mics

[Slowjett]

Just curious to get some ideas.

Here is what I have in the closet

2 ADK Hamburg LDC
1 Studio Projects B1 LDC
2 JM 27 (modded)
2 Naiant X-Q matched (omni)
2 SM 57
1 SM 58

The Sonar kit sounds pretty good. It has one rack tom and one floor tom. I was really hoping to capture the deepness and tone in the toms for that nice rich boomy sound. Im going to experiment with a bunch of setups, just looking for some ideas. The room is a smaller medium size room. Kit is a in a corner.

Im most curious as weather to use the SDC's or LDC's as overheads.

I can track a about 10 (or 14 if I want to use the pre's on my yamaha emx2000)

I'm also considering a d6, but for now I want to use what I have. Was thinking on kick to use a 57 and the B1, figur I could get a good sound out of it that way.

Thanks guys,
Josh

 

[tmix]

Since you don't mention that you room is treated to sound good, I would stay away from the omnis.

I would use a 57 for beater and the b1 out a bit for kick.
I would use another 57 for the snare just above the rim pointing parallel (not down toward the skin) to the head toward th hit zone.
I would use the ADK Hamburgs in a Glyn Johns configuration for the overall kit.

That works well for me anyway.

 

[RAMI]

I'd use 4 mics (OK, 5 if you really want to double-mic the kik). 2 overheads in a Glyn Johns configuration, 57 on snare, and whatever is a good kik drum from what you have. I certainly wouldn't use 10 mics for a kit that size.

 

[Slowjett]

Thanks guys, that was one of the first configurations I was going to try. Would you put the 57 and the beater side or resonant side of the kick? Also how close would you recommend it to ward off proximity effect (or does it not matter much)?

thanks!
Josh

 

[drossfile]

Thanks guys, that was one of the first configurations I was going to try. Would you put the 57 and the beater side or resonant side of the kick? Also how close would you recommend it to ward off proximity effect (or does it not matter much)?

thanks!
Josh

tmix mentioned putting the 57 on the beater side, and that sounds good to me. some proximity effect may actually help you there since we're talking about a kick drum. no way to tell without experimenting with the placement.

if you're gonna use the b1 on the res, you'll probably want to make a "tent" to isolate it from the rest of the kit.

if you wanna avoid double-miking the kick, the d6 is a good road to go down. i love mine.

 

[Slowjett]

Good tip on the blanket. Put the mic under a stool or a chair and drape a blanket over it maybe.

I just went to find my other ADK hamburg, I forgot I loaned it to a friend for a production he was doing as his studio. He's got every expensive mic in the world but he hasn't given my ADK back!

-Josh

 

[Slowjett]

Ok so instead of putting the ADK's as my stereo pair I used the jm27's because I loaned off my other ADK hamburg. I used the hamburg about 2/5 ft in front of the bass drum, no cover because I dont have boom stand low enugh to facilitate sticking it under a chair. and I used an sm57 on the snare and beater side.

I posted my results here -> https://homerecording.com/bbs/showthread.php?p=2973254

 

[Bguzaldo]

I'd try this:

-take one ADK and put it behind the floor tom about shoulder high with the drummer, pointing towards the center of the snare, then take one and put it directly above the snare (about 2 feet) towards the rack tom a little. Now remember these mics should be exactly the same distance from the snare. Pan them left and right more than 50 each.

- Definitely go with the 57 on the snare about 2 inches above the rim pointing towards the center

- I'd take maybe even the 58 and put it in the bass drum if you have a hole in yours, I've used an audix OM in my bass and its turned out really well, just put a blanket over the bass drum so it doesn't pick up unwanted noise.

Let me know how that works for you.

Thanks
-Barrett

 

[RAMI]

I'd try this:

-take one ADK and put it behind the floor tom about shoulder high with the drummer, pointing towards the center of the snare, then take one and put it directly above the snare (about 2 feet) towards the rack tom a little. Now remember these mics should be exactly the same distance from the snare. Pan them left and right more than 50 each.

That's the Glyn Johns method that has been mentioned a few times in this thread.