crazydoc
Master Baiter
Darn! I'm so disappointed. 
No reason to buy one then.
No reason to buy one then.
N
Nik6teen
New member
anyone ever recorded with one of these t.bone microphones? are they available in the states?
-peace
-peace
D
dnl88
New member
I dont know If u can them to be shiped to the states.
C
Cloneboy Studio
.
SM57's on toms are a kinda boring choice. I try to avoid 57's just becuase they are a bit done to death. MD421's work good on toms though. Unfortunately those aren't cheap.
noisedude
New member
A cheap dynamic alternative to 57 for snare is the Sennheiser E835 - honestly. None of that boxy-sounding, bad bleed crap you get from 57s. But that's just me!
tubedude
New member
Boxy sounding bad bleed! Someone else hears iT!!! YES! Its not just me! I'm not a deaf moron after all!!! Noisedude, if you were female I woul marrry you!
SM57s suck balls in all cases.
As far as bleed versus a B1. Well, you could put an omni on toms and get about the same bleed as a 57, and at least the cymbal bleed wouldnt sound like the biggest bag of buttholes you ever smelled. And stuff.
I promise the copy will not be the same, either, but it COULD be better. It wouldnt have to try hard. HAHAHAHAHA. AMen. All you 57 worshippers. jeez. Get a good mic and LISTEN.
SM57s suck balls in all cases.
As far as bleed versus a B1. Well, you could put an omni on toms and get about the same bleed as a 57, and at least the cymbal bleed wouldnt sound like the biggest bag of buttholes you ever smelled. And stuff.
I promise the copy will not be the same, either, but it COULD be better. It wouldnt have to try hard. HAHAHAHAHA. AMen. All you 57 worshippers. jeez. Get a good mic and LISTEN.
noisedude
New member
Damn that's scathing!! I agree though totally!! The only Shure I have now is the old 545D which I'm trying to make work on some vocals, but without success on my cheapy pres. I just wouldn't bother in a multi-mic setup because they just don't sound great to me.
There's reason singers with 58s sound like they're singing through a sock ... and it ain't just bad technique ...
There's reason singers with 58s sound like they're singing through a sock ... and it ain't just bad technique ...
F
Freya
New member
5 String said:
Apparently Joe Meek used to stick a Reslo ribbon in there! That's got to be more scary! I definitely suggest you do not try it!
love
Freya
F
Freya
New member
noisedude said:There's reason singers with 58s sound like they're singing through a sock ... and it ain't just bad technique ...
I remember the first time we got to compare the 58 against a bunch of other microphones "2 fat ladies 88". I was completely horrified and am somewhat scared that one day I will have to sing into one. The proximity effect on that mike seems really extreme. Maybe they are good if you are an old goth and are trying to sound like "the fields of the nephlim" or something. When I think of the sm58, I feel strangely grateful to the entire communist/former communist world.
Sorry, I'm sure the sm58 is a preety good microphone. I just had a bad experience which left me horribly prejudiced. Anyway noisedude incited me to say these things. I blame him.
love
Freya
noisedude
New member
Hey, that's all good! It doesn't help that people tend to wrap their hands over the ball-top and have at least a third of it in their mouths!! But no - it isn't a particularly good mic. It is pretty indestructible though, but my Sennheiser 845s have taken some trashing and don't even have those annoying SM58 dents yet!!!
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Ape32
New member
I don't know - I have used 57s and 58s for many things, including toms, with great results. I admit that I like my 544 Unidyne better for recorded vocals and for my amp because it is slightly smoother.
I use 57s for two of the three toms in my practice reference setup, and admittedly the drummer is very good and uses a well-tuned "Bonham" 68 ludwig (20" floor and 26" kick), but the results sound quite good.
I like my Senn. E609 silver for rack tom better and ATM25 for the big floor as well.
I am also a FOH engineer and have had no problem getting great live vocals from 58s. I have mixed quite a few really good touring bands. The proximity effect can easily be tamed using the hi pass filters on a mixer and, truely, I like having a mic that gives a strong signal - this is crucial on a loud stage.
- Ape
I use 57s for two of the three toms in my practice reference setup, and admittedly the drummer is very good and uses a well-tuned "Bonham" 68 ludwig (20" floor and 26" kick), but the results sound quite good.
I like my Senn. E609 silver for rack tom better and ATM25 for the big floor as well.
I am also a FOH engineer and have had no problem getting great live vocals from 58s. I have mixed quite a few really good touring bands. The proximity effect can easily be tamed using the hi pass filters on a mixer and, truely, I like having a mic that gives a strong signal - this is crucial on a loud stage.
- Ape
G
ggunn
Crystal Flavolian
photoresistor said:
I read out on another forum that some folks have talked about using a speaker for a kick drum mic. Anybody in here ever tried it? Supposedly some great older recordings were done that way.
I didn't get any details about what size speaker, baffling, electrical connections, etc. I guess you'd want to hook it up through a transformer for low Z operation, especially if you've got phantom power enabled.
O
OneArmedScissor
New member
You could look at this thingy and get an idea:
http://www.americanmusical.com/item--i-YAP SKRM100.html
http://www.americanmusical.com/item--i-YAP SKRM100.html
B
BradD
New member
The reason 57s are so ubiquitous is that they don't sound bad on anything. I usually don't mic the toms for the simple reason that I don't yet have enough quality pres to use more than four mics on drums, but I've heard from several engineers that I respect that 57s can sound fine on toms. Sennheiser 421s are kind of a standard, and I've heard good things about the B1/B3 SPs for this application. As far as bleed goes, if you're using a DAW, I would just cut the tom tracks except in the spots where the toms are being played.
Going back to these OEM mics. Why in the hell would anyone want to make a copy of the AKG C12VR? The original C12 I can see, but not the VR.
Going back to these OEM mics. Why in the hell would anyone want to make a copy of the AKG C12VR? The original C12 I can see, but not the VR.
crazydoc
Master Baiter
O
OneArmedScissor
New member
The reason I think 57s are a bad idea for toms is that you could pay the same amount of money and do a lot better, like with one of those Sennheiser E604 three packs.
5
5 String
New member
One of the best drum takes I ever heard at a session was done with three mics.
Neumann in the kick
A pair of Microtech-Geffels (East German Neumanns) aimed over the drummers shoulders.
Nice sounding kit placed 1/3 of the way down a live sounding
theatre/rehearsal room.
Of course there wasn't much you could do to the take other than EQ but it didn't need any messing with.
Neumann in the kick
A pair of Microtech-Geffels (East German Neumanns) aimed over the drummers shoulders.
Nice sounding kit placed 1/3 of the way down a live sounding
theatre/rehearsal room.
Of course there wasn't much you could do to the take other than EQ but it didn't need any messing with.
K
KevinDrummer
New member
Hi.
My opinion... get a cheap set of drum-specific clip-ons like the samson 5Kit. Clip 'em on and turn 'em down. Get 2 decent MXL condensors for overheads - turn 'em up. The mix should be 75% overhead and 25$ close mics (less for the snare). Experiment with placement (and angle on the close mics - i.e. proximity effect / tone). The 5 kit can be had for less than $200 for 5 mics, and add another $180 for the MXLs.
My opinion... get a cheap set of drum-specific clip-ons like the samson 5Kit. Clip 'em on and turn 'em down. Get 2 decent MXL condensors for overheads - turn 'em up. The mix should be 75% overhead and 25$ close mics (less for the snare). Experiment with placement (and angle on the close mics - i.e. proximity effect / tone). The 5 kit can be had for less than $200 for 5 mics, and add another $180 for the MXLs.
D
dnl88
New member
KevinDrummer said:
Thats something I really want to avoid. I want the real quality and dont want to have to be changing all the time. Ive got the other mics available. I just need the sm57 and a kick drum mic. Oh by the way a drummer friend of mine (13 years of drumming and 5 or 6 of PA) said that the best mic he'd ever tried was the beta 91. Bu he also said the beta 52 gives u a better whack than the d112.
noisedude
New member
I don't own one, but there seem to be way better-liked kick mics than the D112. The two AT ones (ATM25 and Pro 25?) have great reviews here. I just tend to stick a spare dynamic down there, which is probably why I've not got a good sound yet 
