mattr
Resident moody teenager
I'm starting on another demo track next week with the band from this thread and we're looking to be a bit ambitious and extravagant 
(no short deadlines and quick demos - got more time to experiment and get this one right)
I have some new overheads (NT1000) which I'm quite excited about trying out but I'm also considering close-micing some of the cymbals, in particular cymbals used for 'accents' like his china and splash. I'm quite confident with my OH micing technique and its not that these cymbals aren't picked up in the OHs, just they don't quite punch through a dense mix; I'll probably mic everything and end up deleting a lot of the tracks, but its better to have them there if they're needed than not at all!
I mic hi-hats often so I'm ok with this, but I don't have a clue where to start when it comes to other cymbals. Obviously there will be some level of experimenting on the day but I'm looking for some tips on where to start
Mics I have at my disposal...
Two NT3s
A handful of C1000s
A few SM57s
Some other dynamics (Sennheiser e845, SM58, Thomann imitation SM58s, etc)
Two boundary/PZM mics
Some places I've read say to use a condenser to get the 'sizzle', but I've read other people saying that condensers become too harsh and brittle when used up close (and you also get some strange low-freqs from the proximity effect) and so using a dynamic gives more pleasing results. Thoughts? Experiences?
As for placement - obviously I'm looking to minimize bleed but the clips will probably be clipped down to only include the important accents. The only time I've seen close-mic'd cymbals it seemed the stand lent over the cymbal then the mic pointed back towards the cymbal, with the rear of the mic pointing up and back towards the drummer. Seeing as I've only seen this done once I presume there are many other ways I don't know about which could all be considered right or wrong.
So really, where would be the best place to start and what would be the best mics to chose!?
Thanks
Matt
(no short deadlines and quick demos - got more time to experiment and get this one right)I have some new overheads (NT1000) which I'm quite excited about trying out but I'm also considering close-micing some of the cymbals, in particular cymbals used for 'accents' like his china and splash. I'm quite confident with my OH micing technique and its not that these cymbals aren't picked up in the OHs, just they don't quite punch through a dense mix; I'll probably mic everything and end up deleting a lot of the tracks, but its better to have them there if they're needed than not at all!
I mic hi-hats often so I'm ok with this, but I don't have a clue where to start when it comes to other cymbals. Obviously there will be some level of experimenting on the day but I'm looking for some tips on where to start
Mics I have at my disposal...
Two NT3s
A handful of C1000s
A few SM57s
Some other dynamics (Sennheiser e845, SM58, Thomann imitation SM58s, etc)
Two boundary/PZM mics
Some places I've read say to use a condenser to get the 'sizzle', but I've read other people saying that condensers become too harsh and brittle when used up close (and you also get some strange low-freqs from the proximity effect) and so using a dynamic gives more pleasing results. Thoughts? Experiences?
As for placement - obviously I'm looking to minimize bleed but the clips will probably be clipped down to only include the important accents. The only time I've seen close-mic'd cymbals it seemed the stand lent over the cymbal then the mic pointed back towards the cymbal, with the rear of the mic pointing up and back towards the drummer. Seeing as I've only seen this done once I presume there are many other ways I don't know about which could all be considered right or wrong.
So really, where would be the best place to start and what would be the best mics to chose!?
Thanks
Matt
