Need advice on quasi-pro studio mics

Elmo89m

Elmo89m

New member
Ive been recording for several years and have found a partner with funds and space to start putting together a respectable studio. I know equipment, but i would like some opinions on mics for a couple different applications.

1) what would be good for toms. I was thinking sm57 but i don't know if those will really cut it.

2) LDC for use with sm57 as a 3 foot back mic with electric guitar.

3) Should i use two mics on kick, if so how. If i use one mic i was thinking a beta52. should i maybe use a condensor?(i heard of people doing this.)

4) Would sm7 be good for hihat?
 
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1) 421
2) 4033
3) something with very high spl
4) there are probably better options
 
hmmm...i'm thinking he just didn't type a 5 in there.

i think some sdc's would be better to get the toms and cymbals and to even out the sound but...whatever floats your boat...and wallet
 
I conquer with Falkin,

You can not go wrong with a 421 on anything from guit cabs, toms, even bass and kick.

if your gonna get 57 I'd go Beta version for the snare at least. Don't waste money on a 57 for Hihat cause it's not gonna do you good.

Invest in a quality pair of SDC's like people say. Unless the drummer does a lot of hi hat work, I usually end up with enough from overheads so you may not need to get it right away.
 
markitzero said:
SM7 on hat? Thats a waste of an SM7.
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And a very odd choice, given that the SM7 doesn't have a lot of high end sparkle to it, which is generally where the high hats are mixed. It would make a pretty good overhead/tom mic though. With the rolloff and presence boost on and the windshield off it might work okay for hi hats.

I found, of all things, a RODE NT3 quite good at hi hats. I'd look at an SDC.

I like the term 'quasi-pro', I've done a fair amount of work that I've only been 'quasi' paid for...
 
Daniel Reichman said:
And a very odd choice, given that the SM7 doesn't have a lot of high end sparkle to it, which is generally where the high hats are mixed.
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You make a good point, but the real reason is the fact that it has a fairly sizeable peak right around the 5-6 khz range, and then rolls off the rest of the way up.

So basically, if you could pick any one frequency range to accentuate that would make a hi-hat (or just about any cymbal, for that matter) sound as junky and trashy as possible ... that would pretty much be it. :D

.
 
Elmo89m said:
Ive been recording for several years and have found a partner with funds and space to start putting together a respectable studio. I know equipment, but i would like some opinions on mics for a couple different applications.

1) what would be good for toms. I was thinking sm57 but i don't know if those will really cut it.
Click to expand...

I'd go with the old standard 421 on the toms, and pick up some extras for other things...great mic!

2) LDC for use with sm57 as a 3 foot back mic with electric guitar.
Click to expand...

I use a combination of a Senny e609, DI, and a ribbon (believe it, or not!)

3) Should i use two mics on kick, if so how. If i use one mic i was thinking
a beta52. should i maybe use a condensor?(i heard of people doing this.)
Click to expand...

Yamaha SubKick, and either a Beta 52, or AKG D112!

4) Would sm7 be good for hihat?
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No. :D
 
It's a little harder on the pocket book, but if you get an AKG 414 (or better yet 2) I can assure you that you won't be dissapointed. I love them almost without limit. Would be great for a 3-foot back... and vocals... and just about everything else. you can pick up a set for about a grand.
 
Elmo89m said:
WOW, looks like i was way off on the sm7.
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I don't think you were way off. We've used the SM7 successfully on hats all the time. Not as "bright" as some small condensers (that have a top-end peak), but very usable.
 
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