Hey guys. Just wondering what your personal preferences are on standard hi-mid-low toms.. I've got a basic set of samson tom mics and they do the job reasonably but I have to mess around a lot with EQ and gating to get them to sound right (even with an incredibly tuned kit.)
Just wondering what you tend to use on your toms because I think I'll be looking to horde more mics when I next get paid.
Hope you're all having a nice December so far :)
- Dan
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All of these recommendations are great, except for one of them:t
All of these recommendations are great, except for one of them:the A-T ATM25. This mic positively SUCKS at this type of application, don't even THINK about purchasing a couple of them for this, or any other drum mic'ing application! PLEASE and do yourself a favor, DON'T buy that mic! You will regret this
the rest of your life..."Oy! Why did spend half the amount of a Sennheiser 421 on this mic that sounds twice as good, err, NOT as good-repeat NOT as good - as a 421!?!?" LOL!!!!!!!!
Managing to drive the resell value of the ATM25 through the roof, Davedog and moonbaby (and now it looks like Link55) have unabashedly admitted a love fest with this lovely little morsel that the brainiacs at A-Tso brazenly and heartlessly removed from the planet.Bastards....
Yes, Do not use the ATM25. It will enhance all those great frequ
Yes, Do not use the ATM25. It will enhance all those great frequencies on all your toms and kick, and you don't want that kind of build up.
Plus since it's a hypercardoid, it will reject the natural sound bleed from the rest of the kit.
Oh, sure, there's a few of us that live for that kind of stuff, but we're just hopelessly insane.
Secret Tip O' the day regarding the 421's stupid mic clip:
Since you will never use this mic without the clip, or with any other clip, and you will never use the clip with any other mic....
...Super Glue solves all your problems !
While I do love the MD421 for its great sound and wonderful vers
While I do love the MD421 for its great sound and wonderful versatility, it truly sucks for placement in a densely populated drum kit.
I love the sound of the Audix mics. I use D2's and D4's on the toms and a D1 for the under snare mic. Easy to place, great full-range response, and indestructible by drummers. They also sound great on guitars of all types, bass cabinets and leslies.
You really do want to avoid the ATM25. Its the kind of mic that will haunt you if you ever use it. If you run across any of them, please send them to me so I can recycle them as is appropriate.
You guys make me laugh :D Ok so................ Looking like I h
You guys make me laugh :D Ok so................ Looking like I have a few to choose from... Wish I could try some out but its kinda hard to ask a store.. HEY.. MIND IF I BORROW THIS AND THROW IT IN WITH MY OTHER MICS FOR A TEST?
Damn.. I'll probably end up buying more than one now if my terrible salary can afford it........... BLAST YOU!! :D
Thanks for your input Dave... I'm mainly dealing with basic rock setups for the time being... so placement for the MD421 might not be an issue....... As for the ATM25......
All I can say is... HRMMMMMMM
Akg has some drum mics (ccs-d22) that the cheif engineer at the
Akg has some drum mics (ccs-d22) that the cheif engineer at the studio i work @ likes. he said they are about 1/3the price of 421's and sounded remarkably simlar when he a/b 'em. they are about half the size. One place i never though i'd see 421's was for room mics, but they actually sound nice, so nice i haven't used a digital verb in 3 months on the drums.
I'm not saying the Senn e604 sounds just like a 421, but it give
I'm not saying the Senn e604 sounds just like a 421, but it gives you the sound you're usually trying to get from your 421 on a rack tom.
I also like the D112 or D12e on a deep floor tom. I've also used the AKG CCS-D22 kmetal is referring to live and wasn't disappointed with them on a well tuned kit.
natural, post: 357945 wrote: Secret Tip O' the day regarding t
natural, post: 357945 wrote:
Secret Tip O' the day regarding the 421's stupid mic clip:
Since you will never use this mic without the clip, or with any other clip, and you will never use the clip with any other mic....
...Super Glue solves all your problems !
.....................................................................................................
What a jolly good idea...
And what, if this fragile looking clip goes bust, which it does at least once in the lifetime of the MD?
How are you going to poke the remainders out of the MD's glide rails for the new clip??
You are somewhat over optimistic when it comes to longevity and handling of mics and their components in a studio.
Btw, a thin slice of rubber band can help, here. But it gets lost very easily and, therefore, it is not too practical, either.
Tape could solve the problem, as well, but does not look very nice... Maybe blocking the release switch would be it.....
Many ways... Still, the clip is a rather stupid solution for a mic that is so versatile. I also use it often for brass ( ska ) and higain guitar recordings.
Its size is a problem with some drum setups, but up to now I always found a gap to place it right.
Big K, post: 358080 wrote: .....................................
Big K, post: 358080 wrote: .....................................................................................................
What a jolly good idea...
And what, if this fragile looking clip goes bust, which it does at least once in the lifetime of the MD?
How are you going to poke the remainders out of the MD's glide rails for the new clip??
You are somewhat over optimistic when it comes to longevity and handling of mics and their components in a studio.
Btw, a thin slice of rubber band can help, here. But it gets lost very easily and, therefore, it is not too practical, either.
Tape could solve the problem, as well, but does not look very nice... Maybe blocking the release switch would be it.....
Many ways... Still, the clip is a rather stupid solution for a mic that is so versatile. I also use it often for brass ( ska ) and higain guitar recordings.
Its size is a problem with some drum setups, but up to now I always found a gap to place it right.
Weigh up your options and plan your life accordingly.
I started with rubber bands then moved to Black duct tape, The tape worked better, but only for a year or so.(i'm slightly more concerned about function than cosmetics) Eventually the mic still slides out in the middle of the best take.
Super Glue has been on there for over 15 years now. Never had a clip break and seems the least likely scenario in a controlled recording environment. (if you're dealing with live on location performances or unruly animals, all bets are off)
It's more likely that the super glue will eventually give way. (which has happened because there's not a big area there to glue- so the plastic of the clip should be stronger than the torque that's inherent on the clip)
But I do have an answer to your question:
SECRET TIP O' THE DAY #2
Back in the day when we used to have a rehearsal studio, (secret tip #3- Don't ever, ever, own a rehearsal studio)
those cheap mic clips for sm 58's took an abusive beating and would break all the time. (rehearsal musicians ARE unruly animals)
Keeping only the base of the clip that screws on the the stand, I would unscrew the clip part, and replace it with a piece of leather strap from an old belt. You can make the loop as big as you want for whatever sized mic. The leather will really hold the mic well. It never breaks. And it looks surprisingly cool, if you have nice old belts.
enjoy.
t
Is anybody familiar with these [[url=http://[/URL]="http://www.a
Is anybody familiar with these [[url=http://[/URL]="http://www.amazon.c…"]421 shockmounts[/]="http://www.amazon.c…"]421 shockmounts[/]? If so, does the round hole in the middle accept a common thread?
421's all-around, snare, kick, toms. And I've even used them as
421's all-around, snare, kick, toms. And I've even used them as overheads on some rare occasions. Fat fat fat! All the punch snap & bang you need. I personally only own a couple and I'd like to increase that to a total of six. All for the drums and just the drums so help me God.
421's are positively reverent
Mx. Remy Ann David
I rigged my two older grey 421's with a hose clamp strap, a coup
I rigged my two older grey 421's with a hose clamp strap, a couple of tom mount 90's, threaded extensions, (threaded the tom mount pieces with a die set) and a couple of short knuckles from a big atlas boom. They were versatile enough for angle with the knuckles but still a pain to place occasionally. Wish I still had em though. They were GREAT vocal mics.
You mean there is only one guy in Chicago that does that? Use 57
You mean there is only one guy in Chicago that does that? Use 57's on the entire kit?? Oh the humanity....
I know more than one guy that does that in the BW Metro area. But I guess that's Chicago for you?
I have to be honest, I've used 57's on entire kits. Oh! Including overheads.
Exceptionally ordinary
Mx. Remy Ann David
I tried a whole bunch of mics, but I always come back to the Sen
I tried a whole bunch of mics, but I always come back to the Sennheiser MD 421 for toms.
Just watch out with this dreaded mic clip. I don't know how often I have adjusted the MD
and accidently released the microphone. It is always good fun to see the mic gliding over tom and snare to finally land on the floor. The best part of it: this clip costs about 58 $, here. It is quite a bit cheaper, though, in the USA, for what ever reason.
Anyway, there are other good mics, but this is my favourite for toms.