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gtoledo3

Aqua Marine

Posts: 4,000 Member Since:23/10/2013

#41 [url]

Mar 3 17 10:15 AM

The last few recordings I've done a pretty similar setup with an ORTFish pair, *but also* a mono overhead getting the meat of the kick and snare (nothing finished/released yet). In that case, a CS1, C12 or M49 in the middle, with either UM17s or AMI F44s as the pair.

Though I have been thinking of it as more of a decca tree related approach.

It's pretty flexible.

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compasspnt

Diamond Forever

Posts: 21,110 Member Since:08/01/2011

#42 [url]

Mar 3 17 6:00 PM

weedywet wrote:
Buddy Rich in no uncertain terms said "put a mic over the center and one on the bass drum and leave the rest to me"

although that's a much sanitized and nicer version of the actual exchange. 


Exactly what Bonham said.


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weedywet

Ruby Baby

Posts: 5,774 Member Since:20/01/2011

#46 [url]

Mar 4 17 7:06 PM

Buddy laid into Geoff too. 

I think part of the routine was to establish his dominance in front of people and then he could be almost "normal"

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queef bag

Platinum Blonde

Posts: 1,235 Member Since:24/02/2011

#47 [url]

Mar 4 17 9:51 PM

bob olhsson wrote:
Every additional mike castrates the drums more.

+1     single omni over head (two cardioids or figure 8s if ya need stereo)  and  a kick mic.   done.    minimal phase cancelation.


then too often, we add 7 to 14 more mics 'just to be safe',  then use all but one or two in the mix, feeling smug because we knew better than to use all of them.


O.K.  it's really case sensitive, dependent on drums, drummer,  room, and the sound one is going for.


one school of thought is get most of your sound of the kit from your over heads and/or rooms, then add close mics as needed.
in this case, the overheads would be less just cymble mics and more a mic or (possibly stereo) pair looking at the whole kit.
a little compression can make everything quite present.     maybe i should say a good drummer can make everything incredibly present.

 

jf

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extrememixing

Platinum Blonde

Posts: 2,278 Member Since:02/02/2011

#49 [url]

Mar 8 17 9:37 AM

I can't really identify the microphones. They don't look like Royers to me. If they're condensers, they could be any pattern. It's really hard to say... I've miced drums OH that way. It sounds good.

Steve

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bigbone

Platinum Blonde

Posts: 2,217 Member Since:27/01/2011

#50 [url]

Mar 8 17 11:26 AM

Steve

Al Schmitt sometime used the AKG 451 EB as OH'S , in Card patern.
If you look closer the capsule look like a cardioid capsule with the vent hole.....

JNimage

Last Edited By: bigbone Mar 8 17 11:42 AM. Edited 1 time.

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bigbone

Platinum Blonde

Posts: 2,217 Member Since:27/01/2011

#51 [url]

Mar 8 17 11:29 AM

bob olhsson wrote:
Every additional mike castrates the drums more.


if you place the mic at the right position, your manhood will come back.

JN

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mario i

Platinum Blonde

Posts: 1,575 Member Since:28/01/2011

#52 [url]

Mar 8 17 11:33 AM

bigbone wrote:

bob olhsson wrote:
Every additional mike castrates the drums more.


if you place the mic at the right position, your manhood will come back.

JN

BEST ONE I'VE HEARD IN A WHILE !!!!!

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kats

Platinum Blonde

Posts: 1,098 Member Since:22/01/2011

#53 [url]

Mar 11 17 3:03 PM

queef bag wrote:

bob olhsson wrote:
Every additional mike castrates the drums more.

+1     single omni over head (two cardioids or figure 8s if ya need stereo)  and  a kick mic.   done.    minimal phase cancelation.


then too often, we add 7 to 14 more mics 'just to be safe',  then use all but one or two in the mix, feeling smug because we knew better than to use all of them.


O.K.  it's really case sensitive, dependent on drums, drummer,  room, and the sound one is going for.


one school of thought is get most of your sound of the kit from your over heads and/or rooms, then add close mics as needed.
in this case, the overheads would be less just cymble mics and more a mic or (possibly stereo) pair looking at the whole kit.
a little compression can make everything quite present.     maybe i should say a good drummer can make everything incredibly present.

 

Sure, but ultimately a good drummer cannot make the sound of a close mic'd tom unless the tom is close mic'd. It's a cool sound and a choice. I wouldn't do it because I had a shitty drummer, nothing can help that, I'd do it because I wanted that sound. Really it comes down to doing things for a REASON, and how you prefer to mic your drums has to be tempered by everything else that is going on in the room. 

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chance

Aqua Marine

Posts: 2,539 Member Since:30/01/2011

#54 [url]

Mar 11 17 3:15 PM

weedywet wrote:
Buddy laid into Geoff too. 

I think part of the routine was to establish his dominance in front of people and then he could be almost "normal"

So true. I have seen him many times and every time, it seemed important for him to let the people know "HE" was running the show. In all the times I've seen him, I never once heard him give credit to a musician in his band. A true control freak, but an amazing drummer. There is a fine line between madness and genious

Chance Pataki The Musicians Workshop www.the-musicians-workshop.com musicians.workshop@gte.net

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harland

Gold Finger

Posts: 916 Member Since:05/02/2011

#55 [url]

Mar 12 17 12:40 AM

chance  wrote:

So it has been said many times, but if you look around I think you are going to find a lot more madness where there is utterly no genius present.

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seth

Ruby Baby

Posts: 5,476 Member Since:26/01/2011

#59 [url]

Mar 12 17 11:44 AM

weedywet wrote:
publicly.
and most thought he was an enormous dick (note: I said 'was', not 'had')

I chose the phrase, "many of his contemporaries" with care. I didn't think it was important to point out that you could probably count them on one hand....

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bigbone

Platinum Blonde

Posts: 2,217 Member Since:27/01/2011

#60 [url]

Mar 12 17 1:15 PM

weedywet wrote:
publicly.
and most thought he was an enormous dick (note: I said 'was', not 'had')


When i read comment like that,it tell me it's time to take a break from this place...... So long folks.

JN

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