what condenser mic?

[Anders]

goooodmorning!!

im going to record my drums with 2 mics, beta 52 on the kick drum and a condenser mic for the rest of the drums, any suggestions on what condenser mic to go for?

 

[tmix]

Good Morning Anders!
Well a lot depends on your room (how well it sounds) and the style of playing.
As a general rule an omni centered directly overhead works pretty good. I dont have a good sounding room, and the fewest mics I use is 3. I generally use a Beta 52 on kick (or a AT pro25) and a pair of Oktava MC012s overhead or a pair of KEL Audio HM-1s. I am sure that one would probably work if you took some time experimenting with placement.

I have often recorded good but simple drum tracks (without a bunch of tom fills) with the kickmiced and by putting a AKG C1000 ( I knowww... Flame time) on my snare pointed across the kit away from the hat and picked up a surprisingly good kit sound.Hope that helps some.

Tom

 

[Mark7]

I'd go with a omni-directional mic as well.

The ECM8000 is pretty cheap. As are a few of the AT models

 

[PhilGood]

Tom, I wouldn't mind hearing some clips with those KELs. I'm kinda curious about them. Maybe a new thread?

I dunno.

 

[tmix]

MayBe sO!

PhilGood,
I have to record some tracks for a collab project I am working on.
I'll try to remember to post something to show you. Not sure where would be best.
Feel free to bug me.

I like the kels. They are a little darker than the oktavas. The way that translates recording drums is you dont notice the cymbals as much, so the mic seems to focus on bringing out the toms. In fact, even from an overhead position (in a small room) I get a pretty usable kick drum sound as well.

So on songs where I am primarily playing basic grooves on kick / snare / hat. I prefer the kels. It is just bright enough to know you are using a condensor, but dark enough they automatically push the drums back from front stage EQ wise.

Bug me... I'll come through eventually.

Oh.. They stink on most vocals and acoustic guitars (at least in my opinion) but do well on gnarly sources like mando and violin that normally set your teeth on edge. I am soon going to try it on horns (alto sax) and see if it comes close to a ribbon mic for that application.
I imagine it would be the "perfect Condensor" for bagpipes (ha, ha)

Tom