Members solomaniac17 Posted January 25, 2007 Members Share Posted January 25, 2007 So how many Mics do us on your kit.??? Live and studio application are completly different in terms of micing a drum kit. but that point can be argued. depending on what genre your working with, how big the kit is, ambience blah blah blah... I just thought we could calaberate on tips, mic suggestions. mic placement?? anybody? I usually bring with me, an AKG D112, sm 57's apex 126.akg c1000's how bout condensor mics?? Link to comment Share on other sites More sharing options...
Members Mogwix Posted January 25, 2007 Members Share Posted January 25, 2007 When I'm working with seven seeds we'll bring about three Beta 56's, three Beta 98's, we always have a bunch of SM57's on hand, a Beta 91, and a Beta 52. For overheads there's a pair of AKG C1000's. We'll stick the 98's on the rack toms, the 56's on the floors, the SM57 on the snare, the 91 inside the kick (if there's a hole in the reso, if not we'll put an SM57 out of phase on the beater and a 52 on the reso). Sometimes we'll put the C1000's overhead as one above the hihat and one above the ride to capture the whole kit, or one above the middle of the kit and one on the hihat specifically. I'm just stage help though, Frank Miller does the mixing. When I'm running sound I cart along an SM57 for the snare, 4 Shure PG56's, an Audix D6, and a pair of MXL 603's for overheads. PG56's go on the toms (if there's more than 4 toms I'll pair some toms up), D6 in the hole on the kick (or about 1/2 way to the rim of the reso if there is no hole, and a PG56 on the beater if we have one left over), SM57 on the snare, and the MXL 603's spaced overhead, sometimes in XY if I can't get the phase right. We usually only run a full mic setup outdoors or in big rooms, so in small gigs I'll throw a D6 on the kick and a PG56 on the floor tom(s) since they're the only ones that need help. Overheads and snare mic aren't necessary most of the time. My mic choice and placement doesn't really vary with genre because the drum's sound is determined by how the drummer tunes his kit, also, I don't have that much of a mic selection right now. Link to comment Share on other sites More sharing options...
Members LowandLoudx97 Posted January 25, 2007 Members Share Posted January 25, 2007 This is what i run for my standard setup - Kick - Beta 52/ 91 (Klark Gate/ DBX 160x comp) Snare - sm57 top , e604 snare bottom (Klark Comp/ Klark Comp) Tom1 - E604 (Klark Gate/Klark Comp) panned right 10% Tom2 - E604 (Klark Gate/Klark Comp) center Tom3 - E604 (Klark Gate/Klark Comp) panned left 10% Overheads - SM81's or my modded mxl 603's panned 75% L and R ( guest engineers can't believe how great the MXL's sound) After getting the kit to sound big and powerful I then bus everything to a stereo subgroup, CRUSH it to get some radical pumping with a dbx 266 and then return it back into a stereo channel for some killer parallel compression... I have a couple standard reverb patchs i use to give the drums some dimension , 2 medium halls , 1 tight ambient verb , and a big verb for big break downs and slower and spacy sections... (placed tastefully on snare and toms, and a touch on the overheads sometimes) & Sometimes i'll switch it up and use an md421, or an re-20 in the kick in place of the beta 52. Depends on the style of music though! Thats my method .... Link to comment Share on other sites More sharing options...
Members Brad Harris Posted January 25, 2007 Members Share Posted January 25, 2007 Well really it depends on the band/genre and budget of course. I've got a few board tapes up on myspace that have been done with 4 mics, kick, snare and 2 overheads. Kick was a beta 52, SM 57 on snare, and 2 SM81's over top. This is close to the least I've used .. on occasion, I'll just do a kick and a overhead (due to stupid promoters and not advancing when they advance the show with me .... its only vocal and some keys, which translates to 3 guitars, 1 bass, 1 neal pert drummer, 16 lines of keys and maybe some horns). Me personally, for most kits, this is what I'd like to see in some capacity (all or some, and a SM57 works just as fine if that may be the case) Kick - SM91 or AT 25 with a AT 23HESnare - AKG C430Bottom - MD 421HiHat - SM81Toms - Beta 98 (or Audix D2/4's)Overheads - SM81 or neumann L diaphram Most of those cover most of the genres I do (celtic & "sinatra" - rock/metal - yeah, maybe the neumanns won't make the mic kit for the death metal bands lol) As for placements, thats a whole nother can of worms .... theres a few different mentalities just for overheads themselves! (equal distance from snare, equal distance from cymbols, xy & stereo (and thier neighbouring configurations), etc, etc) myspace.com/bradellsplace (last 3 songs for the 4 mics) Link to comment Share on other sites More sharing options...
Members boomerweps Posted January 25, 2007 Members Share Posted January 25, 2007 On MY drums, usually I just use a D6 halfway through the reso hole.Going up in venue size, then I use SM57s mounted with A56Ds on the toms and a Beta56 on snare.Larger or outdoor venues, I add 2 OH, inexpensive EWI C61 condensers. I got a 3rd C61 for hihats but haven't used it yet. boomerweps Link to comment Share on other sites More sharing options...
Members wztonz Posted January 26, 2007 Members Share Posted January 26, 2007 Typically I run the following: 2xOH-414's or 4041'sRide-4041 or SM57 from underneathHat-414 or 4041Kick-with a mic hole, a Beta52 and an SM91Without, 2 beta52's, inverting polarity on the front one.Snare-SM57 unless it's a very quiet brushes only jazz drummer, then a 4041. Unless the drummer has poor dynamic technique I rarely use a bottom mic, when I do it's another SM57.Toms-SM98's, Sennheiser 609's. Link to comment Share on other sites More sharing options...
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