Twelve Samples Of Mics On Kik

Posted: Wed Dec 05, 2007 7:49 pm

Hey Ben, when you do the snare, if you can secure a Beyer 201 be sure to include that.

Again....the D2 is gonna blow a bunch of folks minds on a well-tuned snare. D1 for jazz snare.

Posted: Wed Dec 05, 2007 8:31 pm

I thought that was a pretty cool demonstration bent. I particularly liked the last cut as it included all the instruments this time! Your stuff sounds great! All except those bass drum examples. I'm just kidding.

Actually, I can't say that I have a favorite from your demonstration? I could work with any/all of them and probably have. If the meters move and there's not lots of buzz or hum, I can make it sound good, if it already doesn't sound good.

So what microphone did you use for that wonderful rock-and-roll cut? It sounded incredible! And to think it was all recorded with a single microphone. How did you get so much stereo from a single microphone?

I like to teach so I sold my training bra.
Ms. Remy Ann David

Posted: Wed Dec 05, 2007 8:47 pm

Misposted - sorry.

Posted: Wed Dec 05, 2007 9:44 pm

Remy - got a break from the cover band action, eh?

Quote:

So what microphone did you use for that wonderful rock-and-roll cut?

Oh, you mean that track by those kids that called themselves Soul'd Out?
That was recorded with one of those cool Binaural Holophonic mics I mentioned on another thread! Laughing

Kidding...
I posted that track previously, but I think I spoke incorrectly about the mics used.

I'm pretty sure the mics were as follows:
Kik - 868
Snr - SM57 up and 441 down
Hat - 81
Toms - EV468
OHL & R - Oktava MK219
Keys - Countryman FET85 DI
Guitar - 57
Bass - Behringer DI120
Sax - 421

Board: Crest HP8
A/D - Motu 24I/O
DAW - Vegas 5.0

All recorded "live" but sax, overdubbed later.

Posted: Wed Dec 05, 2007 10:55 pm

I've tried md421 on kick... nothing exciting,I think I will return it to GC and may be buy again when I am done with buying everything else. Love EV ND 868

Posted: Wed Dec 05, 2007 10:57 pm

Did you have the 421 set to M or S?

Posted: Wed Dec 05, 2007 11:17 pm

I've tried everything, every position of the knob and moving it around just enjoyd ev nd 868 more.

By the way is it a normal dry kick drum sound? I mean those ones you listed, do you get decent sound from them after equing compressing reverbing etc? If you could just show me please how to get tight clicky thumpy sound (deathclock) I would send you a beer over the internet Thumbs Up

Posted: Wed Dec 05, 2007 11:33 pm

Haha. Dethklok's sound? Just sample a stopwatch, drum-replace, and roll off anything below 2 KHz.

Posted: Thu Dec 06, 2007 12:01 am

well dethklok is just one of the samples 8-)How about Master of Puppets sound?

Posted: Thu Dec 06, 2007 12:26 am

Nice clips Ben!

Try a Soundelux u195 outside the resonant head. Trust me!

For the low end thunder (a la Hotel California), but the Fat switch on.

Posted: Thu Dec 06, 2007 7:31 am

Coming from the sound reinforcement world and playing in bands/doing gigs for 30+ years I'm trying to make the transition to the recording world.

To me the Beta 52 sounded more like what I would hear playing with a band. That's why I used it in my live system.

Does something about it "not" transfer over to recording?

I thought most of those mics sounded unnatural for a bass drum, made it sound boxy or even like a larger floor tom like an 18" not a kick.

To me the beta 52 sounded most like I would want my kick to sound like. I can hear the beater and feel the energy were it should be.

Am I missing something? Educate please, I'm confused.

Posted: Thu Dec 06, 2007 8:27 am

the beta is ok. i always think of it as a more "versitile" kick mic than a lot of the other popular live-use kick mics (d6, d112). because you're right, it does deliver a full sound, but i cant stand it's raw tone. with the proper EQ and Compression, you can make a Beta52 do whatever you need it to do; it just requires some sculpting.

anyone wanna trade their Beta52 for my D6???

-dave

Posted: Thu Dec 06, 2007 9:59 am

I am going to have to try the RE27 on my next it
i typically use the d112

Posted: Thu Dec 06, 2007 12:22 pm

Thanks everyone for the kind words, I'm glad you enjoyed this post.
I was a bit pressed for time which is why some of you may not hear your favorite mic in the same light.
As I state below, I did not mess too much with placement (I believe that if I did I would have ended up with a lot of different mics whose
samples all sound relatively the same to some extent, know what I mean?).
That having been said, here are a few answers to some of your questions:

Bob:

Quote:

Is the PL20 just an RE20 with different cosmetics?

Near as I can tell, they are very similar in construction.
Here are their specs (I can't find originals, sorry):
RE20 - http://www.electrovoice.com/download_document.php?doc=799
PL20 - http://www.fmsystems.net/pdf/cutsheet/pl20.pdf

Gertok:

Quote:

By the way is it a normal dry kick drum sound?
I mean those ones you listed, do you get decent sound from them after equing compressing reverbing etc?
If you could just show me please how to get tight clicky thumpy sound (deathclock) I would send you a beer over the internet

The samples posted are totally dry, no real attention to placement other than matching all to the same angle / height / distance from beater head,
recorded with a muffler in the drum, in a small room, with matching gain throughout.

EQ'ing them helps, as it does on all things. I admit, I'll eq the hell out of anything to make it sound the way I want.

As far as attaining a tight, clicky, thumpy Lars-ish sound -

Tight = Proper tuning and gating (short hold, fast release - there's hardly any tail on a kik like Lars').
Clicky = Mic placement / selection & 3-4Khz boost (big boost, like 3-6dB+) and a slightly boosted high shelf starting about 6K.
Another trick I'll use is some distortion on the highs - play with it, you'll feel it when you find it.
Thumpy = Mic placement / selection and low/mid scoop (150-900Hz+/-).

Patrick:

Quote:

my favorites were the RE27, which has a "squeak" that's invaluable in a kick mic, and the 868, which has guts without pushing (rather than allowing) low end through it.

I totally agree with both points! I'll do some editing and throw one on a track with the other, might sound pretty cool.

Taxman:

Quote:

I wouldn't run out and get an RE27 until someone A/B'ed it with an RE20.

Looking at the EV links above, based on the specs (I know, you can't go on specs alone) I think I came close using the PL20.

Big Daddy:

Quote:

I thought most of those mics sounded unnatural for a bass drum, made it sound boxy or even like a larger floor tom like an 18" not a kick.
Am I missing something? Educate please, I'm confused.

I agree with your point, as well.
I honestly don't have a better answer short of what I wrote above about placement.

In all honesty, I think each of these mics will work well in the kik.
I have listened to them on my Labtec CPU speakers w/ sub, AKG44 and Sony 7506 phones, and my EV S-60s - the samples sound different on all of them.
My Labtecs, however (to steal a term from D-Dog) don't lie.
On them, they all sound like viable mics.
They all have their place on the world stage.
Some are simply better for rock or metal, some for jazz, etc...

Oh, Gertok, while I'm on the subject, ask me about fx tricks on toms.
I bet I have one that you haven't considered!
Hey, actually - that might make for a cool thread...

-Ben

Posted: Fri Dec 07, 2007 8:19 am

http://video.google.com/videoplay?docid=-6040497400049614749&q=metallica+recording&total=2436&start=0&num=10&so=0&type=search&plindex=0

Can see if at the end is the sound of the kick comes from the mixing board or it is just a camera mic.

I just want to make sure I am getting workable kick sound before I tweek any knobs

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