kick micing/mic choice

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Phosphene

Phosphene

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Was wondering about the 2 mic method on kick. Shoving a dynamic inside and putting a condenser (U195) outside the shell. Hell, my question even applies to a room mic.... What do you do about the phase issues, or are they negligible?

Second question, and I've done some research on this. Been thinking I need more dynamics as I only have 57x2, 421-U5, D112 for micing drums. I have heard some of you mention the Beyer M201 for snare. I've tried a 57 and a 414 on it but havent been completely satisfied. I could experiment more.... What are more snare mic options?

Also, concerning drum mics, been thinking about getting another 421 (older version) or a 441. What are your thoughts on them on the quality of sound they produce for snare/toms and even dist. guitar cab. I was wanting the older 421 just to have another one with a different flavor. But the 441 is alot different and hypercardioid. Thoughts?
 
Phosphene said:
Was wondering about the 2 mic method on kick. Shoving a dynamic inside and putting a condenser (U195) outside the shell. Hell, my question even applies to a room mic.... What do you do about the phase issues . . . ?
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You experiment with the positioning of the mics or flipping phase until you don't have them. Or you nudge the .wav's around in your audio editor.

I've tried a 57 and a 414 on it but havent been completely satisfied. I could experiment more.... What are more snare mic options?
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Beyer 201, Electrovoice RE-15 . . . some even like using an ATM25 (kick mic). If you're not satisfied, try changing the snare -- not the mic. The mic only reproduces what it's pointed at. It's not a miracle worker.

Also, concerning drum mics, been thinking about getting another 421 (older version) or a 441. What are your thoughts on them on the quality of sound they produce for snare/toms and even dist. guitar cab.
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Well, they're widely used by world-class engineers at world-class facilities on world-class records by world-class artists. I'm assuming they'll do the job.
 
Phosphene said:
Where do I get world-class musicians?
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You move to Chicago, baby ! ! :cool:


(cuz they sure as heck ain't in Nashville, sonny :eek: )
 
Actually, all the world class musicians are here in LA.....on vacation. :D
 
Phosphene said:
Was wondering about the 2 mic method on kick. Shoving a dynamic inside and putting a condenser (U195) outside the shell. Hell, my question even applies to a room mic.... What do you do about the phase issues, or are they negligible?
Thoughts?
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The mic out in front always sounds very impressive to me one it's own and tends to do a nice thicker variation on the whole kit vs the kit mics from the rear. But then in the mix, seems like i end up going with the closer dry/tighter sounds more often.
As always, style being the driving force.
Wayne
 
I've gotten good results with a Sennheiser MD421 on the outside of the kick, paired with an EV RE20 on the inside. I like both mics a lot and have nothing but good things to say about either one. They both work pretty good on bass cabinets as well. MD421 is excellent for toms and snare as well.
 
Well, maiainly I was just wondering the advantages of getting an older 421 as opposed to a 441. I have a 421-u5 now, but I heard the older ones sound a bit different. But then, mine is fron the 80's and it's not a MkII, so maybe it would be overkill and I should just get the 441 for variety.
 
Phosphene said:
Well, maiainly I was just wondering the advantages of getting an older 421 as opposed to a 441. I have a 421-u5 now, but I heard the older ones sound a bit different. But then, mine is fron the 80's and it's not a MkII, so maybe it would be overkill and I should just get the 441 for variety.
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They all sound of little different, but they all still sound like a 421... if you alrealy have a 421 get a 441 next.
 
Are we speaking? Actually Rod Stewart is ignoring my phone calls nowadays. I think I will look elsewhere for a world-class calibre music maker person.
 
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