Which Mics Would Be Needed?

[Matthew M.]

Last year, I set up a small home studio which consisted of a PreSonus Firebox, Rode NT-1A microphone, KRK RP5 monitors and a MIDI controller, connected to Logic Pro 7. The goal at the time was to be able to record and produce albums strictly through virtual instruments and do a one man project. Well, after trying that out for awhile, I have decided that the virtual instruments can only go so far, so now I want to purchase a drum kit and an electric and acoustic guitar. I also would like to record other instruments around my house, like my old 1967 organ and electric piano. I am not looking to record others, just myself multi-tracking and becoming this one man band, literally. Currently, I am likely going to buy the Fireface 800 to replace my old Firebox. However, I would like to be able to find the right mics to accomplish this task of recording. I am looking into recording four mics on the drums. Which four mics would you recommend be suitable for drums, as well as work well with the other instruments I plan to record? Could my Rode NT-1A be of use? My budget for mics is probably around $1,000. Any recommendations would be welcomed and appreciated. Thanks!

 

[BRIEFCASEMANX]

I might consider buying something a little cheaper like a mackie 400f or something so you have a bigger budget for mics. Unless you would consider buying more mics at a later date, and want the best interface first and foremost. Also if you don't need a lot of inputs you could get the RME fireface 400 instead of the 800.

snare, el gtr - SM57
overheads, acoustic instruments - Peluso SDC matched pair(haven't heard but most seem to like them in this price range) OR 2 SM81's
vox, piano, acoustics - Audio Technica 4047 (audio technica mics are the sweet)
kick - audix d6

This would cover a drumkit and most other things you'd want to record. Might come to a little over 1,000. The d6 is a really modern scooped kick drum sound, if you want something different try a D112, Beta 52, or an RE20. The RE20 would be the most versatile as it will work on a lot of other things. The D112 seems to work well on kick as well as bass amps. The pelusos might be better than the SM81's for uses other than overheads.

 

[mohthom]

From what I can see, you're moving away from virtual instruments to get towards a new level of warmth. My experience of the Audio Technica mics (I've used 4033s, 4051as and 4050s and not the 4047s but it's true for all that I've used) is that they're pretty clinical - they don't sound incredibly juicy or delicious. I'm not too up on kick drum mics (in fact it's something I've posted about recently as I need some help myself) so I'm not too able to comment.

On a similar budget to the ATs are the ADK TL-MP (my favourite pair for most applications at the moment) which will also work in omni (great for drum overheads).

I've heard great noise coming out of the Red5 bass drum mic (£35 in the UK, probably get it imported for somewhere around $100 all in?) - both on kick and on double bass. Don't know if that's the sort of thing you're after.

I've heard great things about the GLS ES-57 mics, which are a fair way cheaper than their shure counterparts. Lucky for you they seem to be easily available in the US, and from the sound comparisons they seem to give a little more crack in the snare sound.

Just different flavours of the same design I'm sure, but I guess that's something to do with my love of small mic companies. They always seem to surprise me for the better - but as always, have a listen before you hand over cash. I'm more than happy to furnish you with some sound from my ADK TL-MP if you want to hear something from the real world.

Thom

 

[BRIEFCASEMANX]

The AT's are in general pretty clinical, I'd agree, but not in a bad way IMO. I've yet to hear any LDC's for under 500 that sound juicy or delicious. For under 500 I'd be happy with really good clinical.

 

[mohthom]

As I said, I'd be happy to send you some sounds captured using my TLs - they're clear, detailed and delicious. I guess it depends on the source, but when recording orchestras I've heard very few mics that can come close - I put out a load of DPA mics etc. on a recent session, only to reject them in the mix - as the TLs had everything covered. I've been really lucky with performers, and that's made a huge difference to the sound of the project, but I don't think the ADKs should be written off.

Thom

 

[emergencyexit]

If your looking for overheads that you can use on a lot of other things, I'd have to suggest the MXL 603s. They have a bit of a bump in the highs and sound a little tinny in rooms with metal or brick walls that are close together, but they come in handy for all sorts of drum sounds, acoustic guitar, electric guitar cabs, and some vocals. I guess you could say their "hyped" but I find they are more of a workhorse in my studio than the 57. If your looking for dull "smooth" overheads that are cheap and wont give you that hyped sound, I'd suggest the KEL HM-1s. I've been using these on rock and metal recordings lately with incredible results. Unfortunatly, I have yet to find anything else that they really sound kick ass one besides overheads.

I second the D-6 for bass drum. I bought a beta-52 about 2 years ago, and had a project once where the drummer brought in his own bass drum mic (the D-6). I was skeptical when compairing the two just as a lot of people would be when their gear is challenged. Turns out I loved the sound. If I could have done anything different when buying gear I would have bought that mic.

Ben