ecktronic
Mixing and Mastering.
You could be right. I kinda pulled 4K off the top of my head.Ironklad Audio said:
Eck
Eck
SouthSIDE Glen
independentrecording.net
Bell clang can have fundamentals that go as far down as the 200Hz-300Hz range, with some cymbal harmonics actually starting below 1kHz.Ironklad Audio said:
I like putting a vertical mic stand in front of the kick with a T on top for mounting either an X/Y or ORTF pair facing back towards the kit. If you go this way, set the pair at a level somewhere between the top of the rack tom and below the high crash.Edwonbass said:
Set height and angle of mics to taste. For example, sometimes right at the halfway point and pointing straigt back gives a good skin/cymbal balance, Other times you might have to move the mics up a couple of inches but angle the mics down towards the skins in order to get more drums and less cymbal, etc. It's quite tunable.
Add a kick mic in and submix it into the stereo pair and you have a quick and easy stereo drum stem that sounds fine as long as you actually have someone who knows how to play drums behind the skins. And the mics are close enough to the overall kit to where the room quality is not as much of a factor as it is with standard high-mount OH configs.
G.
EdWonbass
pull the goalie
Thanks SSG, I will have to try that out.
D
Dani Pace
New member
Here's a set up ive tried with fairly decent results. Sit in the normal playing position, extend your arms straight out and up at about a 45 degree angle (holding a drumstick in each hand) then place a mic at the place where the stick ends. Depending on the cymbals and how hard you play you may need to move the mics forward or back a little. Point the mics at a point just in front of where your head is. Add a kick mic if you need to. Pan the ohs to about 70% right and left. I use this mic configureation in small rooms and get fair results. It might work for you, if not, it's a good place to start from to find the mic placement which will work best.
M
MCI2424
New member
ez_willis said:
Sure. Place the two mics either facing the bell or the rim or anywhere between the two. You will find the exact place if you adjust and listen. Angle away from the toms if you want to isolate the cymbals.
On Hi-Hats, never place the mic faceing between both cymbals as you will get a rush of air directly into the mic. Super bad sound.
cephus
Slow Children Playing
Cymbals always sound like shit when i record them. I almost always end up doing as crossstudio said and overdub samples. One shitty crash sample from my drum machine sounds great when you change the decay and the pitch. I think they sound way better raised up a fifth or an octave and I try to vary the pitch by a note or 2 each time it's needed.
This, of course is just for hobbyist-level recording. I like a good sounding recording but it's not like I am going to release any of them.
The sample thing is a results approach versus entertaining yourself by trying to learn to do it right.
This, of course is just for hobbyist-level recording. I like a good sounding recording but it's not like I am going to release any of them.
The sample thing is a results approach versus entertaining yourself by trying to learn to do it right.
ecktronic
Mixing and Mastering.
Good cymbals and ok overheads will produce ok sounding cymbals.
AKG C1000s are alright on a budget.
Think they are about $200 for a pair.
Eck
AKG C1000s are alright on a budget.
Think they are about $200 for a pair.
Eck
ez_willis
.
When I tried the x/y setup, I'm picking up too much of the rest of the kit.
I tried just micing the cymbals instead of the oh's last night. I discovered something that I missed before that could be impacting the overall drum sound. My cymbals sound like ass.
I tried just micing the cymbals instead of the oh's last night. I discovered something that I missed before that could be impacting the overall drum sound. My cymbals sound like ass.
mshilarious
Banned
ez_willis said:
I discovered that years ago too. Sold all the ZBTs, haven't been able to afford all the Ks I want though
ez_willis
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Those lettered series cymbals confuse me.mshilarious said:I discovered that years ago too. Sold all the ZBTs, haven't been able to afford all the Ks I want though
Are the K's a better line?
phaqu
gone and forgotten
A more expensive line yes, I believe they are still hand hammered, but not a matter of better, just different. Darker and mellow sounding for sure. The A series are the standard line (not the cheap line) and the Z series are the ones with the funky shaped hammer marks and weird lathing, and brighter sounding . You could also look at Sabian cymbals. To me they are another "flavor" of the Zildjian sound. ( the owners name is Bill Zildjian and they were made in Zildjians old K factory)ez_willis said:
B
Bulls Hit
Well-known member
ez_willis said:
Yep you're better off with 1 decent sounding cymbal, than a boatload of cheapn nasties
mshilarious
Banned
phaqu said:
Ks vs. A or Z is a matter of preference (or another quality cast brand), but vs. ZBTs it's no contest, the ZBTs sound like ass. They are OK for stage use, but in the studio I think they are useless.
ez_willis
.
mshilarious said:
I have a zxt, a zbt, and a 16" Paiste prototype.
phaqu
gone and forgotten
I was not defending the ZBT in any way, shape or formmshilarious said:
. I thought he was comparing Ks to the As or Zs. ZBTs suck. So I guess to clarify, yes, K, Z and A are a WAY better line.
phaqu
gone and forgotten
Depends on what type of music your doing. But for all around, the A Zildjians or the AA Sabians should do just fine.ez_willis said:
ez_willis
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I play rock type stuff. I write and record all the parts myself, no live shows. Drums are not my primary instrument, it was just easier to buy a kit and learn how to play them than getting a drummer. 
Since we're at it, another noob question. What's this thing for on the hi hat stand? I can tell it tilts the hi hats, but why do I want that?
Since we're at it, another noob question. What's this thing for on the hi hat stand? I can tell it tilts the hi hats, but why do I want that?
Attachments
phaqu
gone and forgotten
I sets the angle of the bottom hat. If your hats are perfectly lined up and spaced, you get a hollow "whoop" sound, not a "chink" sound. You adjust that screw till you get the sound you like when you close the hats with your foot. You can also fuck around with the spacing of the top hat and bottom with the clutch. I go for about 1 -2" of space from the top to bottom.ez_willis said:
K
kaminari13
New member
a/b micing and phase
I´m not sure about this but....if the ohs are around 2 meters apart what frequency has a 2 meter wave,what is gonna get eaten? ?4k? i dunno but is it possible to fill that hole somehow ,phase reversal ,sidechain eq boost ,
I tried x/y and it didn´t work for me kinda, muddy ,no air
sorry folks looks like i ended up in the wrong place
I´m not sure about this but....if the ohs are around 2 meters apart what frequency has a 2 meter wave,what is gonna get eaten? ?4k? i dunno but is it possible to fill that hole somehow ,phase reversal ,sidechain eq boost ,
I tried x/y and it didn´t work for me kinda, muddy ,no air
sorry folks looks like i ended up in the wrong place
M
mixsit
Well-known member
Close counts at this point right?kaminari13 said:
You're talking about multi path here, that distance factor is not quite that simple. The longest paths (hard left to the right mic etc.) will determine the affected lowest frequency, but all of the frequencies above that will also. (All of the shorter wavelengths in or out by varying amounts of phase) Things dead center to the mics will be more or less in phase.
Check out O.R.T.F. (at 17cm) it purposefully lets the highs be out of phase down to around 1k and N.O.S., (30cm) down to 250Hz vs XY.
(Yeah I had to look it up... I don't memorize this stuff so it does me good too.