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Everything posted by RoadRanger

  1. I have a plug-in that can replace the kick with any sample you want - but am getting a good sound with a mic in the kick close to the batter head run through the "Debleeder" plug-in https://wilkinsonaudio.com/products/debleeder . Could probably get the same sound with most any gate that has adjustable parameters including a bandpass filter on the trigger.
  2. I never could quite understand why folks still use SM57's except perhaps "we always have" and years of experience tweaking them to sound OK. OTOH I've seen folks used to an SM58 for live vocals struggle to "work" a more modern mic that has a faster drop-off with distance...
  3. Interestingly enough a $32 Shure A81WS (bigarse wind/pop filter) will convert an SM81 into a voiceover/vocal mic - and also fits the SM57 and M5 just fine (I found an article online about its use with the M5). I'm wondering if that and an M5 would be a superior choice (less pickup of room crud) in a suboptimal environment? I might try it on Monday instead of my AT2020...
  4. My AT2020 and Rode M5's are pretty awesome so I can't imagine that their more expensive cousins wouldn't do it for you . Is your recording room up to the task? Great mics will highlight all the deficiencies of your room .
  5. I had one of these show up to a recording session yesterday. How are you supposed to mic one? Fortunately it was just for background accents so I just miced it with my pair of Rode M5's, one on one side towards the treble end and the other on the other side towards the bass side. I assume I should phase reverse one? Sounds pretty good with them hard panned left and right. The (dining) room was smallish but a bit on the live side - we have the drums set up in the living room with a temp wall between that and the dining room where we record everything else. I have a Shure A81WS that will fit an M5 if I wanted to use it for vocals but have been using my $80 AT2020 with a $6 pop filter - I don't think the level of talent would see any better results from a more expensive mic? So far I've resisted purchasing one of the $200 tube mics on the market - I assume they would still sound like Chinese low end crap but with a tube to make the talents feel "special"? LOL One of the singer/songwriters claims he can get a high end tube mic on loan for us - I'm skeptical #1 that it would be a significant upgrade here and #2 he's a "musician" so probably unaware how improbable it is that someone would loan such to a low end home studio.
  6. Rarer than a drummer who can play softly is a rock guitarist who can - or can play at a slower tempo than the "record". I often learn parts of a bass line at half speed.
  7. Like the Klark Teknik CT-1 or TRITON AUDIO FetHead ? The former is about $29 shipped - if they ever get more from China LOL.
  8. They'll generally sound best with factory parts.
  9. I'm getting used to the Zoom L-8 and L-20, I will probably use it at the gig next week. Kinda always hated fake flying faders (thanks Presonus LOL) but would also hate paying for real ones and the extra size and weight. The L-8 weighs 3.5 lbs, is less than a foot square, and will run off my laptop's USB port power. Unfortunately (?) The L-20 and the newer L-8 have some differences in controls and menus - and it's a bit of a hassle to transfer a recorded project between them but doable. And who thought it was a good idea to have grey text on black? 😕
  10. One of my bands has a confirmed outdoor gig on a town common on July 22nd
  11. My experience with Zoom stuff in general is that they get things "almost" right with a few annoying quirks - and are completely unresponsive to feedback from English speakers. Most digital mixers I've used have some form of the "fat channel" but these mixers like the Presonus do not have motorized faders so have that weird "faders don't work until you manually sync them up" thing. Unlike the presonus that extends to the monitor mixes which are on the faders here and not on knobs with digital position display like the presonus. The L-8 lacks any dynamics and the L-20 only has the much reviled "single knob compressors" - no gates. I'll probably use the L-8 instead of my MG82CX next gig "just because" AKA to get a feel of using one as a live mixer.
  12. Axisplayer, I do most of my gigs these days with a tiny Yamaha MG82CX - we have an outdoor gig (town common) coming up 7/22. I did get to mix a band on an M32 Compact just before the plague (venue's system) .
  13. Oops, not my mic and I'll not have access to it until Saturday - but checking out pictures on the web it is a D112, they look quite different. With the plague and all, we haven't recorded there since although the drummer and I do rehearse with three bands there now. I did pick up another originals project (less than 2 miles from my house) that has about 20 songs to pick from for their 4th album. We did scratch recordings with a set of CAD mics the drummer owns that worked out OK. I've got 5 active projects now rehearsing 6 nights a week. I may have mentioned it on another thread but I picked up a Zoom L-20 and L-8 this year, weird little mixers that are more live sound compatible than their older "recorders" like the R24 (24 tracks but only 8 inputs).
  14. If I had my druthers I'd just use one of my EV PL33 kick mics - nothin' special but old friends
  15. I did try gating but the snare is SO loud in the kick mic that I didn't have any immediate joy 😕 especially if I have to crank the $#@! out of the ~3k to get any thwack. Anyways its easy enough to get a better track to start with. I have the luxury of ir being a couple more sessions off before I need real tracks - plenty of time to get it right
  16. Yeah - not the first drummer I've run into who's proud of their D12 because of it price more than the sound. I try not to bum them out and just use them live. Recording it's just not working with that placement. Maybe I should stick one of my shiny new M5's in there?
  17. So, when one of you are ""stuck" using one of these often reviled kick mics, how do you use it? For some reason drummers seem to be enamored of putting it just outside or half way in the port. It doesn't seem to pick up enough beater "smack" and too much snare that way?
  18. This is what I was referring to https://earthworksaudio.com/products/microphones/drumkit-series/dk25r/ https://earthworksaudio.com/wp-content/uploads/2018/07/Earthworks-DK25-Manual.pdf It uses just a pair of omni overheads and a weird kick mic. It was raved about few years back when it came out. I'm using a couple of cheap omni measurement mics to get a feel for what these megadollar mics can do. Their suggested placement seems a bit weird to me - I at least wanted to get them the same distance from the snare - nobody likes a mushy snare sound. The cardioid kick mic with EQ module isn't of much interest to me - decent kick mics aren't all that expensive. OTOH the AKG D112 I was using (belongs to the drummer) is somewhat disliked by many - possibly because it doesn't have a built-in eq curve for kick like many do. I just looked it up and see that the latest version does have a kick EQ switch.
  19. Just tried out the Earthworks 3 mic technique using budget stuff (Apex 220's over an AKG D112) and blew myself away. Our basement space is surprisingly OK sounding with open insulation on the ceiling and a few rugs on the floor. Anybody here do much non-close miking of drum kits?
  20. So, how do those compare to the Rode M5 for 1/4 the price? Today I got in a pair of the Apex 220 "just because" - I'm impressed that they came with individual calibrations for the $35 each I paid for them. I was prepared to see cheap plastic but they have nice aluminum bodies. The rehearsal studio I'll be recording in has a mic mount on the ceiling that is either right above the snare or can be moved to be so - I'll probably semi-permanently mount one of the 220's up there to try some 3 mic drum recording. The room is a large basement with an insulated ceiling that might also be a good candidate for room mics - it's live but not too live IMO.
  21. You were mentioning some mid priced microphones - if anyone following along is a cheap bastard like me any of the omnidirectional measurement microphones work well for room and even overhead. They are SPL limited so not good for guitar amps or close miking drums but good on acoustic guitar and such. Least expensive one I've seen is https://www.amazon.com/Apex-220-Measurement-Microphone/dp/B001GKY6D0
  22. Phil just talked me into a matched pair of these https://www.amazon.com/gp/product/B00GJW0JGI His review
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