Seafroggys
Well-known member
I've heard of it done before. Mine is not quite level like that but its pretty close, but that's just due to laziness.
miroslav
Cosmic Cowboy
5 mics on a snare?
So much for being decisive!
So much for being decisive!
M
mixsit
Well-known member
No bottom mic needed
You're.. just playing with us right?
Ok I'll bite. Odd? Not.
When you don't want the big thick low end bonk-hype thing of the close proximity effect to the skin you move toward the rim, even down into the side.
It can still sound thick enough (kit' and whacker dependant) but adds the snap, top end from the snares back in. To me, it's closer to the tone you'd get setting there next to the kit.
Frankly that 'too close to the skin' thing reminds me of one too many bad saloon pa gigs.
As always actual miles may vary.
check this out. i know it's a preference thing and whatever works, but i have never seen a 57 placed like this. is this odd or not? it looks like it's pointing straight across the drum almost at rim level.
You're.. just playing with us right?
Ok I'll bite. Odd? Not.
When you don't want the big thick low end bonk-hype thing of the close proximity effect to the skin you move toward the rim, even down into the side.
It can still sound thick enough (kit' and whacker dependant) but adds the snap, top end from the snares back in. To me, it's closer to the tone you'd get setting there next to the kit.
Frankly that 'too close to the skin' thing reminds me of one too many bad saloon pa gigs.
As always actual miles may vary.
cavedog101
Well-known member
I do it frequently for most of the reasons already mentioned.
ez_willis
.
no dude. i am a bass player turned home recordist. i've never seen a snare mic'ed like that. i'll give it a whirl. my snare sounds usually suck, probably because i'm using a brass snare and pointing the fucking microphone towards the drum. why didn't someone tell me this earlier?
ez_willis
.
5 mics on a snare?
So much for being decisive!
look at the website, dude. they have 5 diferent mics on the snare, kick, and OH's, and have audio clips of each so you can hear the difference between each microphone.
D
dintymoore
Guest
That's an interesting website.
I was asking myself "why are they doing these tests with the snares off" until they got to the AKG. The sound of that snare kinda gave me a headache.
Maybe they're thinking slap from that mic and getting all the crisp sounds from the overheads, which would probably be fine.
BTW, that's the way I've got my snare mic, mainly because the stand won't go any higher. I have an SM57 but like an old beat up EV PL11 I got for free better. It's not crisp but the overheads give me that.
I was asking myself "why are they doing these tests with the snares off" until they got to the AKG. The sound of that snare kinda gave me a headache.
Maybe they're thinking slap from that mic and getting all the crisp sounds from the overheads, which would probably be fine.
BTW, that's the way I've got my snare mic, mainly because the stand won't go any higher. I have an SM57 but like an old beat up EV PL11 I got for free better. It's not crisp but the overheads give me that.
M
mixsit
Well-known member
Generally, isn't what happens is struggle like hell sometimes, move the mic around, things get better.. slowly.no dude. i am a bass player turned home recordist. i've never seen a snare mic'ed like that. i'll give it a whirl. my snare sounds usually suck, probably because i'm using a brass snare and pointing the fucking microphone towards the drum. why didn't someone tell me this earlier?
I actually like the rim' starting point. But then there's that mild aversion afliction I mentioned so..
Erockrazor
I mix in (2x) real-time
no dude. i am a bass player turned home recordist. i've never seen a snare mic'ed like that. i'll give it a whirl. my snare sounds usually suck, probably because i'm using a brass snare and pointing the fucking microphone towards the drum. why didn't someone tell me this earlier?
I've been astounded with how much your snare sound can change with small microphone placement adjustments. With skinned drums (to me), those fine adjustments are most noticeable in the sound. What one inch one way can change on a snare drum is a lot greater than one inch one way on a guitar cab. That's my opinion but I suggest screwing with it. Proximity and angle to the drum can give a wider varieties of sounds than I expected at first.
I liked the C414 solo snare sound out of those clips on the site the most. The brightness added more of the snares into the picture .. I like getting that bright snare smack in the mic.
Good luck!
ez_willis
.
generally, but i have to tear down my kit after every song or two that i track and the drums will be down for a few weeks or months while i'm recording everything else. also, i am tracking in the same room as the mixer and i am alone so i don't have the luxury of having the drums in a different room with someone else dialing in the placement for me.
R
RAMI
Guest
I do almost the exact opposite of that pic. I have my 57 about 2 inches in and literally pointing straight down at the skin, perpedicular to the floor. I ended up doing it that way after many different placement experiments.
Nakatira
That Norwegian Bastard
I`ve started using a simular aproach, just a bit more angeled towards the head
M
mixsit
Well-known member
Two questions; That's going for the rather 'big, thick dry side of things?
2) As in kinda sorta always or something? That I don't get. (You're that settled in? same genre, or I'm reading too much into it..?
Willis, we're in similar boats; though I don't play them, drums in here every once in a while (part-timer home studio, cherish each time as a new chance..), open connected couple of rooms, never hear the true result till playback, stop and move the mic ..re-cut.
Cheers all.
..for a while I did a second option 56' in/over/close like that as a 'come hell or high water I'll have a tight isolated CYA' track option.
R
RAMI
Guest
Not really sure what your questions are.I use the same micing set up 100% of the time. I don't record anyone other than myself on my drum set. So, I found the set up that sounds best for that kit and have stuck to it.
miroslav
Cosmic Cowboy
Yeah...I checked out the website. Nice stuff.
I only looked at the picture the first time I saw this thread.
darrin_h2000
Banned
Its not really unheard of...seems Ive read how alot of engineers will try to pick up the hi-hat with the same mic...which can be nice if the drummer is using brushes.
Id be curious how the AT4033 worked out...the MD421...the royer and the M88....I have ready access to all of them but the royer...but the M88 is the best kick drum mic I have so I wouldnt use it on snare.
Id be curious how the AT4033 worked out...the MD421...the royer and the M88....I have ready access to all of them but the royer...but the M88 is the best kick drum mic I have so I wouldnt use it on snare.
M
mixsit
Well-known member
I use the same micing set up 100% of the time. I don't record anyone other than myself on my drum set. So, I found the set up that sounds best for that kit and have stuck to it.
First was about what kind of tone you were going for, but more wondering why, if it didn't vary. A perfectly reasonable answer there, thank you.
ez_willis
.
not into it. it'd probably fine in an outstanding room with an outstanding drummer playing top notch gear. i have none of that.
cavedog101
Well-known member
No matter the room or the quality of the playing, even if you're simply getting one and three and two and four from the kik and the snare, getting a huge quality drum sound on just these two drums will increase the size and scope of your overall recorded sound threefold.
You achieve this in most rooms with mic technique...ie: placement and mic choice.....tuning...ie: head tension and choice of heads, and with this comes control....and control of the environment.
A lot of people do NOT concentrate on the kik and snare but instead waste a lot of time and emotion on the entire kit. While thats a great goal, most beats are produced by MOSTLY hitting the snare and the kik, These are the most used part of the set. Getting these two parts to having outstanding sound is primary to achieving a BIG sound overall.
A key to this in less than perfect rooms is this....the less you try to record in imperfect environments the easier it is to achieve a higher quality of overall sound.
So if you have a drummer or you are a drummer who isnt uncomfortable with a stripped down kit for basic tracks and you concentrate your limited tools to this end, you will always get a better sound.
You achieve this in most rooms with mic technique...ie: placement and mic choice.....tuning...ie: head tension and choice of heads, and with this comes control....and control of the environment.
A lot of people do NOT concentrate on the kik and snare but instead waste a lot of time and emotion on the entire kit. While thats a great goal, most beats are produced by MOSTLY hitting the snare and the kik, These are the most used part of the set. Getting these two parts to having outstanding sound is primary to achieving a BIG sound overall.
A key to this in less than perfect rooms is this....the less you try to record in imperfect environments the easier it is to achieve a higher quality of overall sound.
So if you have a drummer or you are a drummer who isnt uncomfortable with a stripped down kit for basic tracks and you concentrate your limited tools to this end, you will always get a better sound.