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#434156 02/26/00 03:45 PM
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Dear George. Greetings from Sydney, Aus !I am having difficulty developing a satisfying overhead "plot". Currently I have been using a pair of AKG 451's with CK-1 capsules, in an XY configuration. I have been quite happy with the way it "monos", but lately I have struck a spate of drummers who play the high hats inordinately loudly(ie too much high hat in the overheads and snare mics). My signal path for the overheads is via a a Focusrite 115 to tape. I recently missed out by *that* much on a set of your GML pre's here (

I have a budget to purchase some mics, and I am not totally rapt with the 451's. At the moment I am kinda on the hunt for a pair of 87's or a pair of Schoeps. Do you have a preferred O/H mic, and what is your favoured config, and pre for this application ?

Regards

Greg Clarke

#434157 02/28/00 03:35 PM
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Dear Greg,

I sympathize. I still screw around with where to put mics, although I'm now happy with the mics I've got. As usual, using your ears is the best thing to guide you.

I describe them in another reply on this board, but I'll quote it here.

"My overhead drum mikes were obtained as follows: beg and grovel to Doug Sax for two years to have him sell me a pair of his hand-made custom tube front-ends (beautifully enclosed in stock Radio Shack-type prototype miniboxes) and tube line drivers. Search for CK-1 capsules for another year; listen to C12A's and 414's until a pair sounds both good and is matched. Buy them for $2K only to remove the capsules and throw the rest away. Integrate the units. Total cost: around $15K."

Good luck,
George


George Massenburg

http://www.massenburg.com
#434158 03/12/00 04:03 AM
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I'm hooked on fixed axis stereo overhead mic's. I like the Royer Stereo ribbon mic.
Jules


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Producer Julian Standen
London, UK,
Come hang here! http://www.gearslutz.com
#434159 03/12/00 09:16 PM
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Help me out here.

What differentiates a "fixed-axis" mic from a "non-fixed-axis mic"?

And aren't you influenced by what comes from the ceiling of the drum room with ribbons?

George


George Massenburg

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#434160 03/12/00 11:17 PM
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I was told two capsules fixed side by side in one mic was a fixed axis. Dunno George, you're the man!

Royer streo
AKG C24
Neumann SM2 or SM67

I find with all the above 'all in one' stereo mics, as the drummer tinkles round the cymbals in the recording area the sound moves across the monitors in the control room in a similar fashion, more than any other dual mic setup I have tried
Also I get into so many scapes with cranking in 'super top' I find these ribons respond well to eq without picking up the dreaded hihat TOO much.
Re room/ celing, all I can say is that in a stone dungeon type drum room where I had tried a stereo C24 and got an indestict washy picture, the Royer gave me good L&R imaging and not too much room sound.
I like your pre amps BTW! 4 of them (rented), a D12, SM57 and a C24 got my best ever drum sound! (NB I could have done with a pad on one occaision, do they come with pads now?!)
Jules




[This message has been edited by Julian standen (edited 03-12-2000).]


Jules
Producer Julian Standen
London, UK,
Come hang here! http://www.gearslutz.com
#434161 03/13/00 06:25 AM
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Julian,

Got it now.

I made a couple of attempts at doing drums M-S, once with a Schoeps 501, once with a custom-diaphram C-24. I simply couldn't find a placement that gave me real width on the snare, and, well..., size on the kit. Yes, the localization was pretty good, but who's listening to *that*?

At Goeff Emerick's suggestion, I've tried 4038's on drums, and for very certain things they're wonderful. And you're right about the high-hat pickup.

Re: my mic-pre on drums, and why I don't have an input pad. Well, I hate 'em. Hey, if after turning the gain down to 15dB total you still have too much level, just terminate the darn mic somehow into 2kohms and run it into a good line input. Works fine - eliminates a gain stage. Nuff said.

George


George Massenburg

http://www.massenburg.com

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