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are 57s good for recording drums??

Member for

21 years
hey all --

i want to record drums for my project. not sure if 57s work well for that or not. not looking to spend tons of money. so far i have 3 condensers - 2 for overhead and 1 for the high-hat. i need 5 more mics: 1 for snare, 3 for toms and 1 for bass drum. if not 57s, any suggestions?

thanks!

Do

Comments

Member for

16 years 6 months

drumist69 Sat, 02/03/2007 - 18:06
Remy,
I don't care what your credentials are. yes, you have a ton of experience. This does not give you the right to denigrate someone else the way I have seen you do not only in this thread, but many others. I've been taking part in this forum for the past few years, sometimes posting, sometimes just watching and learning. I've seen some reactionary responses on plenty of occasions, but you make a habit of it. I will be requesting that you be removed as a moderator due to your rudeness and superior attitude. Let me mention I feel that mods such as Davedog and David French, and past mod Cucco may have their opinions, but they never resort to the naked belittleing of posters which you engage in on a regular basis. I am reporting you. Have fun flaming me now! ANDY

Member for

15 years 11 months

RemyRAD Sat, 02/03/2007 - 19:43
drumist69, terribly sorry old boy, that you have found me so offensive. No real offense meant.

I admit at times I become a little flippant, with some of my responses. Sometimes I'm just reaching beyond the comedy zone. Some people like blond jokes. Some people are offended by them. Some people like ethnic jokes. Other people are offended by them. Some people like Bush. Most people don't. Some people with 3 months of experience try to bring their knowledge to Recording.org. Some of the professional engineers here just LOL. It's almost like a silly girls club. I know, sometimes it seems cruel. But above all, what is most obvious, IS THE PASSION FOR WHAT WE DO. And the myriad of different ways we all do it.

I'm really just trying to make people think about what they are doing or saying, what they think they're going to do. Most people try to find some kind of logic to the audio equation. And I admire those peoples Mr. Spock like approach. Especially when they raise only a single eyebrow. But audio isn't logical. It's black magic. It's voodoo. It's who you do when you do if you do.

Live long and prosper //
Ms. Remy Ann David

Member for

21 years

Member Thu, 02/22/2007 - 14:49
I have two 57's and an akg d112, and i want to add three more mics to add into my drum mic collection. Although im not sure what i should do. I was thinking maybe buying two 57s, and an akg c1000. Then I could use the c1000 on snare, the 57s for two toms and tow over heads, and the akg d112 for the kick. This way I could use the c1000 my acoustic recordings as well. Any thoughts?? Or maybe i should have two c1000s as overheads, i dont know which should be a larger priority.

Member for

15 years 11 months

RemyRAD Thu, 02/01/2007 - 17:36
grant, the only reason why your snare drum sounds bad with an SM57, is because you have a bad sounding snare drum. It's a lousy drum. You don't know how to tune it. Your heads are crap and are obviously not appropriate for the sound you want.

So knowing that, you should purchase some Sennheiser MD421's for snare drum, bass drum, toms. Once you have done that, purchase yourself a new drum set and take some lessons.

After all, if these big-time hit making engineers and producers knew what you know, they'd probably never have used all those SM57's on all of their drum sets? They could have made their recording so much better if they had used all Samson condenser microphones made in China! And they could have bypassed those lousy analog consoles like those API and Neve's, if they had used USB microphones.

Still looking for used USB microphones.
Ms. Remy Ann David

Dammit! I can't seem to find any of those on my bathroom floor.

Member for

20 years 7 months

AudioGaff Mon, 02/05/2007 - 09:26
Ok, let's keep on topic.

In the old days, there was little choice for good afordable mics. There were may times when I recorded and did live sound gigs where everything was pretty much SM57's and a few SM58's. I would not hesitate to use all SM57's today if I didn't have other choices. A lot the newer popular stuff that has been released with that lo-fi grabage lid trashy sounding drums are done with SM57's. Most of the time I have found that if a SM57 on snare is not working, it is because the snare sounds like crap on it's own. There are times when a snare needs to be tuned to work with a specifc mic. Like all mic's, you use eq if you need or want to. The SM57 can really be a different mic and something special when used with the right high end mic pre.

Member for

16 years 3 months

multoc Thu, 02/01/2007 - 18:11
damn the hostility in here! YIKES! Grant a 57 can sometimes sound good out of the box but you're going to have to juice it with some eq, put a small curve around 200hz for some meat, and take out some of the mids to kill the hollow sound and bring up the high end (around 6k) for that bite and snap....and for the original question, condensors are sexy microphones yes, but without a 57 in your studio people will wonder if you really know what you're doing!
Good luck

Member for

19 years 9 months

Davedog Mon, 02/05/2007 - 09:54
Theres not mic in the world that WONT work on a snare. NONE.

Will it sound 'right' is another question alltogether.

Heres something else to consider.All 57's are not the same. Granted, the consistancy of Shure mics is one of the greatest parts of this company, there are still subtle differences in each mic. Live, this may not be apparent, but in a studio environment it can mean a lot, just as moving a mic an inch one way or another can mean great changes in sound of the source.

I agree with the notion that if your snare sounds like crap with a 57 on it, no mic change is going to make it golden until the drum itself is fleshed out. At that time, the mic choice will be a matter of taste and a matter of familiarity on the part of the engineer.

Heres a story to illustrate this.

A studio I recorded in for several years had a nice desk and a great mic collection. The engineer ( a friend of mine) was very competent and carefull in his techniques. He ALWAYS used an old beaten to death looking SM57 on the snare, and ALWAYS in the same hole on the console with the same processing and EQ. It always sounded great. One time when I was in the control room I asked him why he always used this like this. He said, the EQ on that track was frozen in that position, the mic was one he had owned for years, and as long as it wasnt broke he didnt want to fix it.

Familiarity is a very big part of an engineers' tool kit.

If you're not there with a piece of gear yet, give it time and someday you'll have a strong opinion about something you know will work without fail everytime the red light goes on.

Member for

21 years

Member Fri, 02/23/2007 - 07:18
Micing Drums

The easiest way to know for sure that you are getting the right mics for the job (FOR ANYONE UNSURE ABOUT THIS) is to purchase a drum micing kit that predetermines the right mic for the job (ie snare, kick etc...) I use Sampson Q-mics. I have no problem with them at all. I get killer tones. But I have to tell anyone reading this, the mics are about 40% of the sound you'll get. Mixing is the other 60%. If you can't mix you won't get what your looking for. That is 60/40 between mixing and micing. There are many more variables (mic placement etc...) Which brings up another point. Some of these drum mic systems take alot of the guess work out of placement issues as well.
Tommy

Member for

21 years

Member Fri, 02/23/2007 - 09:58
...to know for sure that you are getting the right mics... is to purchase a drum micing kit that predetermines the right mic for the job

Now why hasn't anyone thought about this idea for vocals? You could package them by gender, body size, age, or range: "let's use the 25-to-35-year-old male baritone for this application."

I've yet to hear a drum mic package that does a lot for me. Earthworks' DK25/R maybe comes closest, but I'd still like to hear it used it in tandem with personality-tailored mics.

Member for

21 years

Member Fri, 02/23/2007 - 10:59
Ive learned how that mix placement and eq are HUGE when doiong drums which leads me to another question. I own a firepod which is a mixerless setup. How will the effect my drums sounds. Would I just eq it after i record?? or maybe i should be looking into some equalizers to purchase?

Member for

21 years

Member Sat, 02/24/2007 - 00:02
Drum Mics

Patrick,
You should learn to read first before you open your mouth, it makes sense thats all. I stated that for those that have difficulty determining what mics to use for drums, pre-selected sets work great. I use Samson Q's which are by alot of peoples standard cheap, but I will still put my drum tones up against anything you have personally recorded with any mics you choose.

Read first, then respond.
TommyB.

Member for

21 years

Member Sat, 02/24/2007 - 00:13
Drum Mics

Patrick
Check out my tracks on a Rolling Stones "Brown Sugar" Remake collaboration at

http://www.recordingproject.com/bbs/viewtopic.php?t=27692

Scroll down until you get to the post where my drums are added.
The username is abozung, but I sign as TommyB.

Read everything now, there is mention as to why the drums are mixed too loud in the mix, but it ought to give you a good idea.
TommyB.
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