Went shopping today, almost came home with a,,,

[Bobby1Note]

Djembe.

 

I have no idea why I'd need one, but I certainly want one now.

 

How the heck would you mic one of these things, The range is incredible,,,, from deeeep bass, to very sharp.

 

It was a 13" Custom, from MoPerc. Outstanding drum.

 

http://www.moperc.com/drums/djembes.php#naturel

 

PS; Took a peek at the 16 channel StudioLive as well. You've got to see one of these in the flesh to appreciate it. The overall design as well as fit and finish, are outstanding. Beauuutiful board.

[agedhorse]

Usually from the bottom. I like an ATM-25, a 421, but tried a 604 recently and it sounded pretty darn good.

[Bobby1Note]

You know Andy, that exactly what I was thinking. The deep bass response of this MoPerc unit was something to behold.

 

Andy, when you used the 604, was that at the bottom as well, or did you mic the top when you used the 604?

 

Do you think it would make sense to mic this thing somewhat like the 2 mic kick-drum set-ups? (batter/resonator). Perhaps a 604 near the skin, and the 421 at the flute.(bottom)

[Coaster]

 

I have no idea why I'd need one, but I certainly want one now.

 

 

i hate that.

 

i've had some fairly insane results with a 98, a little more normal result with a B52. dont even think about the D112:poke:

[Bugzie]

Had a 57 on one and it was working OK until the kid pulled out sticks and mallets. Things went down hill fast. But then again this kid had talent way beyond his years. Actually he was a treat to work with.

[samkokajko]

I did that same thing except I actually ended up buying it and now rarely play it.

 

Usually when I mic it if I can I will do 2 mics, one underneath between the players feet to get the boom of the bass notes and then something along the edge of the skin up top to get the highest crack.

 

If I can only use one mic then I pick which sound I need more in the mix, if something else has the low end covered or I don't want that much low end then I will just mic it from the top and vice versa.

[Bobby1Note]

 

I did that same thing except I actually ended up buying it and now rarely play it.

 

 

That's what I'm thinking too, but I have mixed feelings.

 

I rarely buy solely on impulse. Usually, whenever I sense that I'm over-enthusiastic about a purchase, I simply walk away and think about it for a few days. If I still have a valid reason for making the purchase, then I'll take the plunge.

 

So, why would I want a djembe? Well, we often have small get-togethers, maybe 10-50 people, and it's usually a couple of us on acoustic-guitars and vocals. We have a drummer friend who often attends, and I thought that he could join in on some of these "jams", without resorting to bringing a drum-kit. The djembe would take up very little extra space in the car.

 

I've also thought about bongos, and MoPerc makes a killer set, The MoPerc stuff is quite expensive,,,,, roughly $500 for the bongos, and the same for the djembe. The Indian Doumbek I looked at was by Meinl I believe. It was much smaller than the djembe, and sounded quite good as well. At the moment, I have very little in the way of percussion instruments, and I'd like to pick-up a few things, mostly for studio work.

[Randyman]

So, why would I want a djembe? Well, we often have small get-togethers, maybe 10-50 people, and it's usually a couple of us on acoustic-guitars and vocals. We have a drummer friend who often attends, and I thought that he could join in on some of these "jams", without resorting to bringing a drum-kit. The djembe would take up very little extra space in the car.

 

That sounds like a no-brainer. If you only have 1 drum to get, the djembe is my vote. For the size of its sound and versatility it's hard to beat.

 

The doumbek has a surprisingly deep low note and a sweet crack, just like the djembe, and is super small and light, but it's at a higher register and has more of a metallic sound, and in my experience, shines with middle eastern beats, not as a general purpose go to drum.

 

The bongos are a blast! But compared to the djembe, they're filler and accent, they don't have the boom and authoritative crack that a djembe will have (well, you can get some awesome cracks if you've got a good set with synthetic heads on it).

 

And as far as djembes go... you might want to consider an ashiko instead. It's also from Africa and is very similar to the djembe, but instead of a bowl it has straight sides that taper down from the head. It has most of the sound qualities of a djembe but has a "rounder sound".

 

I love djembes, esp. in a drum circle, a good quality djembe has a voice like no other and can really cut thru the mix with the crack. But in quieter acoustic situations with mixed instruments, I often find it's too much, and that's where the ashiko delivers: still very powerful, but sweeter. I bought a large cherrywood ashiko from www.everyonesdrumming.com/ a few years back, very happy with the sound for mixed acoustic sets, paid $270, and it has a unique tuning system (with ropes) that makes tuning it a 5-10 minute operation (as compared to 1/2 hr to an hour).

 

And either way, if you have someone with you that knows how to play, buying used is usually a good bet, and you can get that "master djembe" (usually made from dense, heavy wood) for $200-$300. Just inspect the head very carefully for any damage. And learn to tighten the head! Not that hard to do, just a little time consuming and requiring elbow grease.

[agedhorse]

 

You know Andy, that exactly what I was thinking. The deep bass response of this MoPerc unit was something to behold. Andy, when you used the 604, was that at the bottom as well, or did you mic the top when you used the 604? Do you think it would make sense to mic this thing somewhat like the 2 mic kick-drum set-ups? (batter/resonator). Perhaps a 604 near the skin, and the 421 at the flute.(bottom)

 

 

I like the single mic in part because there's generally plenty of crack even from a bottom mic and if you do double-mic you will need to reverse the polarity of one of the mics and probably (or maybe) delay the top mic a bit depending on the tone you are trying to achieve. You could also high pass the top mic and low pass the bottom mic which is another technique to try when double-micing a wide band instrument.

 

Frankly, that's all too much work for little (to perhaps no) benefit, I would just use a single mic from the bottom.

[Bobby1Note]

 

I like the single mic in part because there's generally plenty of crack even from a bottom mic and if you do double-mic you will need to reverse the polarity of one of the mics and probably (or maybe) delay the top mic a bit depending on the tone you are trying to achieve. You could also high pass the top mic and low pass the bottom mic which is another technique to try when double-micing a wide band instrument. Frankly, that's all too much work for little (to perhaps no) benefit, I would just use a single mic from the bottom.

 

 

 

Great stuff Andy. And your personal preference for that single bottom mic would be _______? (I'm guessing the Sennheiser MD 421)

[agedhorse]

I like the 421 but it's kind of big. I would probably start with a 604 and see how it sounds with the drum and the system together. With a good sounding system and drum, there is quite a bit of latitude.

[Bobby1Note]

That sounds like a no-brainer. If you only have 1 drum to get, the djembe is my vote. For the size of its sound and versatility it's hard to beat. The doumbek has a surprisingly deep low note and a sweet crack, just like the djembe, and is super small and light, but it's at a higher register and has more of a metallic sound, and in my experience, shines with middle eastern beats, not as a general purpose go to drum. The bongos are a blast! But compared to the djembe, they're filler and accent, they don't have the boom and authoritative crack that a djembe will have (well, you can get some awesome cracks if you've got a good set with synthetic heads on it). And as far as djembes go... you might want to consider an ashiko instead. It's also from Africa and is very similar to the djembe, but instead of a bowl it has straight sides that taper down from the head. It has most of the sound qualities of a djembe but has a "rounder sound". I love djembes, esp. in a drum circle, a good quality djembe has a voice like no other and can really cut thru the mix with the crack. But in quieter acoustic situations with mixed instruments, I often find it's too much, and that's where the ashiko delivers: still very powerful, but sweeter. I bought a large cherrywood ashiko from www.everyonesdrumming.com/ a few years back, very happy with the sound for mixed acoustic sets, paid $270, and it has a unique tuning system (with ropes) that makes tuning it a 5-10 minute operation (as compared to 1/2 hr to an hour). And either way, if you have someone with you that knows how to play, buying used is usually a good bet, and you can get that "master djembe" (usually made from dense, heavy wood) for $200-$300. Just inspect the head very carefully for any damage. And learn to tighten the head! Not that hard to do, just a little time consuming and requiring elbow grease.

 

Randyman, You have NO idea how much I appreciate your post, THANK YOU VERY VERY MUCH for taking the time and offering guidance. Your comments have really enlightened me on the possibilities.

 

Ultimately, I'd like to have a complete percussion set-up for my studio, and I can see myself eventually acquiring all of the drums mentioned above, as well as chimes, guiros, shakers, cowbells, triangle, etc. All I have at the moment are Maracas, claves, and a tambourine.

 

Randy, are you familiar with the MoPerc stuff? Phenomenal quality throughout. The djembe I'm looking at is solid ash. The hardware is all very robust brushed stainless-steel. Helluva drum compared to the others I looked at.

[Bobby1Note]

 

I like the 421 but it's kind of big. I would probably start with a 604 and see how it sounds with the drum and the system together. With a good sounding system and drum, there is quite a bit of latitude.

 

 

Andy, what are your thoughts on the 904 series, vs the 604's? Are they worth the extra money? My application would have to cover both "live" and studio recordings.

 

My drum-kit is a 6-piece Premier set (snare, kick, two rack toms, double floor toms). The 604 and 904 drum-kits are 4 smaller mic's to the set, and the kick mics (602/902). My overhead mics are c-451's and/or Oktava Mk.012's.

 

Could I use the four smaller kit mics on the snare, both rack toms, and one of the floor toms, and use another model on the larger floor tom? or should I simply add another 604 or 904? Maybe a 602 or 902 on the large floor tom? I've also got an AKG C-414 and some SM57's (snare?) laying around.

[agedhorse]

I haven't used the 904 but expect it to be similar.

 

I don't have a problem using the 604 on all toms, the consistancy of sound allows the differences in the drums to be heard rather than the difference in mics, a little eq and placement gets me generally all I need. It also makes rolls through the toms seem more connected. A little gate and eq and I'm usually pretty happy. I might try 609's on the floors but not sure I would like the upper midrange as much. Certainly worth a try if the drummer has enough control over his sticks. Wouldn't recommend then on rack toms though, too vulnerable regardless of the tonal character.

 

You might try the 604 on snare too. I kind of liked it, but the 57 is my go to.

 

Don't know if this would apply to a crappy kit and a crappy PA, but thankfully that's not something I encounter much these days.

[Bobby1Note]

Andy, Would it be fair to say that the 602/902 are about as good as it gets insofar as kick mics are concerned?

[agedhorse]

 

Andy, Would it be fair to say that the 602/902 are about as good as it gets insofar as kick mics are concerned?

 

 

don't know.

[Bobby1Note]

Update;

 

I just got off the phone with Studio-Economik in Montreal, and the guy mentioned something about drum-mic kits that I had not previously considered. He told me that these days, they rent the Audix mic kits, not only for sound-quality, but durability as well. Apparently, the Audix mics and clips are better at handling errant drum hits. Anybody confirm or deny? StudioEconomik says they can custom-configure the DP5-a kit with two D2, and two D4 tom mics, instead of the usual i5 snare drum mic, two D2's and one D4. Of course the D6 kick mic is included, as is a road-case.

 

http://www.economik.com/audix/dp5-a/

[agedhorse]

The Audix kits are ok if that's a mic you like. I prefer the sennheiser myself. I haven;t had any problems with durability.