SM57's and toms
Hello! I'm looking at getting a couple of sm57's to record my drums and guitar amp. My question is whether it is wise or not to use sm57's on Toms, and get a good full sound? I read it was great for "snares and guitar cabs". Any suggestions?
Poor little microphone
Ms. Remy Ann David
When tracking drums I will use my 421's!
Been using 57's and deffinately haven't been unhappy with them, but I know I can get better.
Can't afford 421's at the moment, so I think the 904's will be a good compromise.
Plus I use an e901 in the kick, an e905 on the snare top and e914's on snare bottom and hats. So it kinda rounds out the set LOL.
what about on amp's can they handle amplifiers as good as an sm 5 7 ?
because im actually thinking of trading in my 2 57's for a pair of four twenty ones for my dynamics.. tell me please. is this a reasonably Sound ... idea??
Of course 421's sound amazing, but there is a bit of a price difference.
Personally, I'm a Sennheiser freak.
But... stick an RE-20 up next to it and the race is on.
ALL of those mics you listed are great dynamics. I am an RE-20, fan, too. You do not look stupid because of supporting the 57. Maybe because your fly is open and there's toilet paper stuck to your Nikes, but not because of what you said about the 57...
Whatever you do....TUNE THAT THING RIGHT...k?
yea im definatly getting an re20 before i get a 421 . how could i have forgotten them.
or maybe ill buy two 421's first. THEN the re20 for grimey vocals and extra oomph on my open back 1x12 fender amp? ( i dont like just recording a 1/2 stack by itself.)
well i think the answer lies within the bottom of this merlot bottle. :0 )
Where's my diaphragm???
Ms. Remy Ann David
Never feel stupid for using mics in new or interesting ways. If they work for you, that is totally fine. You can always recommend 57s, because you can be certain they wont do it poorly. Me personally, I don’t own any 421s, and if I were to buy any, because of their typical uses, I’d probably need three, and they’d not really earn their keep, as their primary jobs are done well enough by other mics.
One thing I do know is that out of all the instruments I record, drums are the poorest in terms of sound. Of course some drummers really know their kits and agonise over the extra brightness from the Peruvian Rosewood quarter sawn solid shells over the laminated Venezuelan Poplar used by Pearl in the sunny month of June in 1963, but the majority of kits I hear are abused, rattle, boing, honk and boom. Agonising is all about the quantity of gaffer tape it needs to prevent the snare falling off!
It never occurred to me to try ribbons as overheads until I saw Alan Parsons do it, in my head overheads were condensers for the top end. I started experimenting and now have Beyer M201 as my overhead mic of choice because I like the sound it captures. I’m using cheap clip on dynamics for Tom’s at the moment live, and they only have one job, capture a bong, and they do it fine. I can have a deep bong, a bright and cutting bong, or anything else. They don’t need stands and don’t get in the way as much as 57s. Sound wise, I don’t think a tom is a nice sound needing special treatment from wonderful mics unless maybe totally undimmed for effect. I’m sure drummers would angrily disagree, but swapping and tweaking on an acoustic guitar makes sense, but one mic on one drum that goes bong?
EDIT bums. Just realised I replied to a long dead topic. I’m sure I tapped recent comments. Sorry.