Originally posted by helguz:
Hi!

I've searched the forum and can't find anything
about Shure Beta 98 ??

I have a 6 piece drumkit and have plans to purchase/use this configuration in the studio:

Snare Bottom - Shure Beta57
Snare Top - Shure SM57
Toms - Shure Beta 98D/S
OH - Shure KSM32
HiHat - Shure SM81 or AKG C1000 ??
Kick - Shure Beta 52 or AKG D112 ??
(and maybe a Neumann TLM103)

I wonder If you can give me some reflection regarding this setup.

The music which will be recorded are grunge/hardrock stuff like Audioslave,
Soundgarden, Puddle of Mudd.

Looks good. The beta 98's should be fine. You want a monster kick for this. If you have an extra track and preamp, get an NS10 woofer (a new one is less than a $100 american...cheaper than most mics) and use it as the outside mic on your kick...use either of the dynamics you've listed for the inside, or just inside, or just @ the hole mic. You only need a little of the ns10...but it'll give you an huge sub-bottom. Then get the normal bottom,mids & click with the other mic.

My sugestions... try also an sm91/beta 91 for the kick drum.
Instead of using a bottom mic on snare ( which most times end up providing a "broke sound"), try a snare side mic.
I have also achieved very nice, punchy, warm toms utilizing C2000Bs , C3000Bs and a GT55 (low tom).
:p

Thanks for fast answers!

Extra track and preamp is no problem, i've got 16 inputs. So the NS10 setup sound very interesting.

If using the Beta91 instead of Beta52, what sound will I get? Which of these mics can I get out most of in other applications, because I haven't bought the beta52 yet.

Hi again!

Whats the differens between SM81 and KSM137 ??

I think the beta 91(in) and the beta 52(out) is a pretty killer kick drum sound. I like the 98s for toms. I will also add that I would imagine that none of the bands you listed are using ONLY real drum sounds. I am dealing with band now that wants the sevendust, disturbed drum sound and I just cant get there with only mics. A lot of it will depend on the player also. I have found that if the drummer hits too hard and/or tunes the drums wrong the low end of everthing will be a real pain in the ass to get right. Thus flying in triggered sounds is a fairly easy way to smooth that out. Maybe I hear it wrong but the hard rock sound of today is very "factory" to me. Tons of samples, days of editing, tuned vocals.

i agree w/ the editing aspects. but alot of high budget production are getting by on the rracked sounds. That's why I propose the NS10 trick. Rig it so that it hangs in front of the lower left quadrant of the drum (outside) stick your normal kick mic (the sennheiser 602 is really cool and new) so the all pof the mic is just in the hole aiming @ the beater. Suck some 560hz (3-4 db) from this mic..no eq on the ns10. BEST done tracked to 2" for tape compression...but we all understand the economics of that.

After you cut any particular track. Get the drummer to give you hits of each drum and cymbal , at least three each, with the same dynamics of the song you just did. This will start a cool sample library of your own, and when editing if there's a particular weak or overblaon hit, using these samples you'll be able to fix it.

The NS10 will give you an 808 bottom

Thanks again!

Hack, I think you have right about the "factory" sound. Sevendust is extreme.

But Audioslave and Puddle of Mudds drum sound are more natural and not too "factory".

I want i to sound in that way but in my way, with my personal touch.

RecorderMan wrote:
After you cut any particular track. Get the drummer to give you hits of each drum and cymbal , at least three each, with the same dynamics of the song you just did. This will start a cool sample library of your own, and when editing if there's a particular weak or overblaon hit, using these samples you'll be able to fix it.

This is a great idea, so easy.

RM - you have NO idea how many times I've had to go back thru and use samples like that to string 2 parts together... especially from different takes. An isolated hit usually will tie parts together much more naturally... especially the overheads. It's real tough to make those 2 channels sound natural...

I know what you guys mean about drum sounds these days being all digital-sounding... and I can tell you one of the reasons that's happening.

There's a band that I know, that I'm very good friends with, but had to have a pretty tough conversation with their drummer once. He thinks he's much faster than he really is, and his double-kicks fall apart whenever he tries to play too quickly... He also dabbles in digital recording, so he asked if I could quantize all his kick-drum hits for him.

Well, I CAN... the question is, will I do it? No. The only software solutions that I could find to do that in one or 2 commands sounded terrible and obvious, and for me to align it 'manually' would have taken weeks!

But I'm sure there are big studios out there that do it. There are a couple recordings I've heard that are obvious with their digital edits, and it irks me every time... if I can take the time to make something sound natural, why the hell can't they?! Sometimes the only thing they need to do is tell the band to go home and practice...

Ok, I'm done. Sorry...

Hey Kase Villand, tell your friends to PM me...for a nominal fee I BeatDetective their tracks like there's no tomorrow......

............the desease is spreading :D :cool: :c: :w: :p: