Drums?

TheJackAttack, hey bud thank you for your quick reply, yes for drums. I know that the smaller Diaphragm is best for the transient attack on the cymbals, but I was wondering how well will the NT1's fair between enough quick attack and full body tom sounds?

The Rode LDC is going to better than most in at it's price point. I would try both and see what you like. For live work I always used AT4051's and studio I did use LDC. I started with C414's and used some Neumann's at one point. This was all before Rode was available or at least before I was aware of them. Now, I would probably use a ribbon pair on a kit. As you can see, it is sort of an evolution but I'd still use the AT4051's for live work.

Thanks bud, I have every tom mic'ed with sm 57's and I'll see how the small nt5's compare with them together, then go with the larger nt1's. I also can't find a post where the best placement for the kick drum mics?, I think I remember beta52 slightly out the kick drum cause of the mid bump, and the Audix D6 inside for the tight snap on the kick, and the AKG D112?

I don't care for the D112 much but I used to have to use one once in a while. If I recall I use to put it inside the drum facing away from the batter head. The Beta 52 probably back 3-6 inches and facing the drum at about 20 degree tilt. YMMV and move it around a bunch until you find the spot you like. If you aren't live, go ahead and start with the NT1 pair for overheads. Put them a couple feet above the set. Too close and you don't get the space and blend you want.

TheJackAttack, post: 367648 wrote: I don't care for the D112 much but I used to have to use one once in a while. If I recall I use to put it inside the drum facing away from the batter head. The Beta 52 probably back 3-6 inches and facing the drum at about 20 degree tilt. YMMV and move it around a bunch until you find the spot you like. If you aren't live, go ahead and start with the NT1 pair for overheads. Put them a couple feet above the set. Too close and you don't get the space and blend you want.

Thanks, now how about the Audix D6?, thank you in advance The JackAttack, and have a great week.

I did a sort of shootout in my studio with a D112, an RE20 and a D6 Audix mic. We had a pretty decent set of Pearl drums here and thought it might be interesting to compare.

Of the three, the D6 sounded best but was the most difficult to place correctly. We ended up placing it inside the drum pointed at the head about four inches away. On a drum with two heads, the D112 sounded best and for a mic that worked almost regardless of where we put it, again, the D112 seemed to work best.

So, if you have a D6, play around with placement and you should be able to get a good drum sound. If not, a D112 can work.

In my live sound mic box, I carry the D112 just because it is so forgiving on placement and seems to work on headless, double headed, hole in front, etc. drums with the least amount of time required to set it up.

GZsound, post: 367877 wrote: I did a sort of shootout in my studio with a D112, an RE20 and a D6 Audix mic. We had a pretty decent set of Pearl drums here and thought it might be interesting to compare.

Of the three, the D6 sounded best but was the most difficult to place correctly. We ended up placing it inside the drum pointed at the head about four inches away. On a drum with two heads, the D112 sounded best and for a mic that worked almost regardless of where we put it, again, the D112 seemed to work best.

So, if you have a D6, play around with placement and you should be able to get a good drum sound. If not, a D112 can work.

In my live sound mic box, I carry the D112 just because it is so forgiving on placement and seems to work on headless, double headed, hole in front, etc. drums with the least amount of time required to set it up.

GZsound, I thank you both for all the insight. I will most definitely try all the suggestions, I have all the needed info now to use all three mics and see what kind of results I can achieve. THANKS ALLLLLLLLL

Also one last question all you great folks. I have an first original matched pair of the RODENT1'S, and a matched pair of the NT5'S, I know the NT5's will capture the faster transients, but I would also like to capture the whole kit. Would it be better to use the NT'1'S instead?, thanks again

BassLiK, post: 369341 wrote: Also one last question all you great folks. I have an first original matched pair of the RODENT1'S, and a matched pair of the NT5'S, I know the NT5's will capture the faster transients, but I would also like to capture the whole kit. Would it be better to use the NT'1'S instead?, thanks again

Anyone?

Can't speak specifically to the Rode mics, but in my experience, the answer is: it depends.

I often waffle back and forth between using 414s or SDCs for drum overheads.
I like the the transient response of the SDCs, but they don't seem to be as realistic and spacious as the 414s (maybe my cheap SDCs?).
Anyways, I think it is a matter of preference.
Your style of music and the overall drum sound you desire will be as important in the decision as anything else, IMHO.

That makes sense. Will tinker around and see what fits for the tune. thank you all

Hey there. My 2 cents

I have a d112 and a d6 and I prefer my d112 everytime.

I use rode nt55's for overheads. My understanding is a rolloff or pad was added and thats about the only difference between them and the nt5's.

I love the rodes on my overheads.

Phil

My boss uses the nt5's as standard. uses the 81's, 451's, 414's depending on the drum source in the studio. I find 414's smoother on an overall kit, but really liked the nt1 over a hand drum at my house. when i record my next song i'm putting our 414's overhead, and 81's for the room.