Scrubucket7 said:
well....im lookin to make some money over the summer to get this project started. I've been reading a shitload about all this and figured out alot of the stuff i was wondering. But i would still like to know some tips from some people who arent used to using million dollar equipment. I was lookin into buying this bad daddy -
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=41464&item=7312700219&rd=1&ssPageName=WDVW - And maybe another
shure ksm-109 (i already have one, and i realize they wont be matched, but thats a bitch i aint about to slap). Ill also probably get
a pg57, or sm57 (if i have the extra $40 or so) for the snare. I have phantom power (the ub1202/shitboard gives phantom power on all 4 XLR's). The drums are going to be a mediocre 5 peice set, with pretty good cymbols. Im just wondering about maybe some ideas for eq/panning/whatever to get a nice full sound without much reverb or anything.
Alright! Here's what I suggest and anyone else feel free to chime in!
PG52 on the kick (obviously) panned center. Use a small pillow for muting and put the mic inside the front head about 2 inches in, pointed at the beater. If you don't have a stand, lay it on the pillow and put something to hold it in place. NOT DUCT TAPE! You can't get that crap off and I've seen it pull the paint off of mics. Add a little 4-6khz for slap and up a little 100-150hz for lows.
PG57 or SM57 on snare, panned center. Bass and snare are always in the middle. That way you get the most sound from both speakers. You'll have to play with placement, but about an inch and a half away from the head, pointed at the center at a 30* angle works great! I like to add some 10-12k for the snare bed snap, and a little 1-2khz for punch. You can go lower if you like.
Same mics for toms. Same spacing. Very little EQ. Mebbe some 4khz for smack. You won't need to add any low end. If you want, you can have the rack toms share a mic. It works fine, just put it right in between about 2-3 inches up. Put one on the floor tom. Pan the toms right to left. How far? You'll know!
Here's another thing to consider: Do you want the listener to have the perspective of someone in the audience, or of the drummer?
However you pan the toms, you will pan the overheads the same. For the audience perspective, pan right to left, for the drummer's point of view, left to right (unless you're left handed). I also pan the overheads at 3 o'clock and 9 o'clock. You can go wider. There's really now right and wrong, it's what your ears tell you.
Overheads should be about 2 feet over the cymbals, but not pointed only AT the cymbals. They catch the whole kit, not just the cymbals. NO EQ!!! Don't try to bring out the highs of the cymbals, 'cause you'll turn it into fuzzy mush! The highs are there, trust me!
And don't think you need to isolate either. All mics should play nice with each other or something isn't right. That cuprit is usually tuning.
If the overhead mics aren't matched then, oh well, I guess you'll have to adjust levels to match 'em up and we'll all have to get over it. I'm sure I can go to bed knowing it's OK!
It'll be fine!!
Another little trick I've learned: (This is a really good one provided you've got good headphones) If you've got the balance right and the EQ is good, when you sit behind the kit with headphones on, it should literally sound like you don't have headphones on at all!! It should sound nice, and you will smile. If anything sounds harsh, address it immediately. If you can't hear a drum when you hit it, bring it up. If it distorts or seems too loud, it is. Watch your meters on the mixer. Keep everything around 0 to +3 dB and don't clip.
