New drum mics.

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
The final piece of the recording puzzle has arrived.
0BD2711E-F6D8-4B54-99D5-5B8306342CCE.jpeg
 

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
Tony - do you find the latency on Jamulus acceptable? What bandwidth line do you have?
I get between 15 and 40 ms bottom being local. I played 3 hours today with guys from Italy France and Germany and Netherlands in real time. If you know the right settings it’s work acceptably most times. It wobbles a little bit occasionally. I’m on Virgin Media gigabit 1 down 50mbit up. I have 900kbs in Jamulus on my settings.
 

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
At one studio, I use a pair of SM81 mics. It's my impression that the diaphragm is pretty much right behind the grille, so I position them for optimum coincidence with that in mind.

View attachment 20470
I’ve recorded a brief take after setting up the NT55s. Waves looked healthy and take was good. I’m running them on mono each at hard panned with the omni heads in. They sound amazing. Just the right height too to grab the kit without making the spread of stereo too much. I just have the HPF at 75hz. Keeping the bass drum mostly out.
 

bouldersound

Real guitars are for old people.
Well-Known Member
Joined
Jan 23, 2010
Location
Boulder, Colorado
I’ve recorded a brief take after setting up the NT55s. Waves looked healthy and take was good. I’m running them on mono each at hard panned with the omni heads in. They sound amazing. Just the right height too to grab the kit without making the spread of stereo too much. I just have the HPF at 75hz. Keeping the bass drum mostly out.
If they're in omni, coincident placement probably won't produce much if any stereo spread. The whole point of XY is to use the cardioid pattern to produce separation between left and right. If you want stereo from a pair of omnidirectional mics, it needs to be a spaced pair to get some difference in arrival time or levels. Also, omni mics will pick up more reflection from a low ceiling.
 

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
If they're in omni, coincident placement probably won't produce much if any stereo spread. The whole point of XY is to use the cardioid pattern to produce separation between left and right. If you want stereo from a pair of omnidirectional mics, it needs to be a spaced pair to get some difference in arrival time or levels. Also, omni mics will pick up more reflection from a low ceiling.

I admit listening only with my IEMs in. Back to basics :). I’ve never used an XY before at all it seemed correct from watching a video on it. Only difference of course I’ve used the Omni heads. Thanks for the help, appreciate it.
 

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
I have switched back to cardroid heads and adjusted the positions a little here is a short take nothing much done other than the UAD preamps and setup. Very quick take. Sounds definitely stereo at least :). Listened on my stereo system in dining room.
Thanks in advance.
 

Attachments

  • Mixdown drums.wav
    13.9 MB · Views: 0

bouldersound

Real guitars are for old people.
Well-Known Member
Joined
Jan 23, 2010
Location
Boulder, Colorado
It's definitely stereo now.

One thing I do is twist the XY at a funny angle to put the snare dead center in the image. Sometimes what looks right and what sounds right are different things.
 

Tony Carpenter

The Minstrel
Well-Known Member
Joined
Aug 20, 2014
Location
Keighley, England
It's definitely stereo now.

One thing I do is twist the XY at a funny angle to put the snare dead center in the image. Sometimes what looks right and what sounds right are different things.
Yep, I did that I read how that works. I’m not finished but I think that was a reasonable first try. Biggest thing is the only monitoring I have currently in drum room is IEMs. I do have a pair of KRK 5 mk3s in there I can hook up though to test more in room.
 

Boswell

Moderator
Joined
Apr 19, 2006
Location
UK
That's certainly a promising start.

It's hard to judge just from OHs, as they are the glue that hold the other drum mics together, and don't necessarily sound good on their own unless you have spectacular acoustics. Did you record the kick and snare as well on that take?
 

kmetal

Kyle P. Gushue
Well-Known Member
Joined
Jul 21, 2009
Location
Boston, Massachusetts
That's certainly a promising start.

It's hard to judge just from OHs, as they are the glue that hold the other drum mics together, and don't necessarily sound good on their own unless you have spectacular acoustics. Did you record the kick and snare as well on that take?
That's an interesting approach, ive always used the OH and Kick as the primary drum sound with close mics filling them in. Although ive done live gigs with no overheads, and the room does make a difference. Ive gotten some surprisingly good (to me) drum sounds with just a kick mic and an sm57 on overhead in medium size practice rooms.
 

Boswell

Moderator
Joined
Apr 19, 2006
Location
UK
It certainly does depend on the genre, and I don't record a lot of the styles developed in the last 20 years or so. However, live acoustics have not changed that much, and I find that giving OHs too much prominence often risks exposing a less than optimal recording acoustic. Studio sessions using an isolated drum room are another matter, and some of my favourite recordings have had ribbon mica as overheads where the height will allow.

Lining up the delays at mixdown is a major part of achieving cohesion in a full kit wherever the recording was made.
 
Top