So, I'm upgrading some gear soon and am in need of new drum mics. I think I'm going to run a mainly Audix setup. I don't have a TON of cash, but am willing to pay a little extra for a good sounding mic that will last me a while.
I was thinking of running the Audix D6 in the kick, D4 on the floor tom, and D2's on the rack toms. I can't decide whether I want to use an SM57 or a Beta57 on the snare. I hear the Beta has a bit more high end and attack. I may end up using both, depending on the situation. I am soon purchasing an AKG C414 to use as an overhead. I'll eventually pick up another to get a better stereo overhead sound.
Opinionsor recommendations would be highly appreciated.
Thanks
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The shockmounts come with the C414's I believe. All in a shiny
The shockmounts come with the C414's I believe. All in a shiny little case. :D
I figured with the C414, it'll be worth the money. I can use it as an overhead, a vocal mic, or on instruments.
I've heard the D6 on kick and like the sound of it. With a little tweaking, you can get quite a few sounds out of it. I haven't experimented with the D4's and D2's however.
I'd say you're in a good spot. Here's what I can add: I own a m
I'd say you're in a good spot.
Here's what I can add:
I own a multitude of SM57s, a 52 for kick, and a CAD drum mic kit I don't use. I do use the 57s on snare and rack toms, and the 52 for kick (I'd like to have a D6 or AKG to compare it with, though). Never really doing live sound, I prefer the regular SM series to the Beta. IMHO. I don't like that added presence and attack. I prefer body to dressings, ya know?
A lot of people here like the Audix i5 on snare too.
Can't have enough 57s though.
I LOVE my 414s as overheads. They can be found used for around $600-$700 a piece if you look high and low (shockmounts included - haven't had an issue in 1yr+ yet). Plus, they perform admirably on almost any other source, as you noted.
The only other thing I would add would be to look into Sennheiser 421s. Great on toms (esp floor tom), and gui cabs and male vox as well. I own two, and wish I had four.
If you follow your own, bent's and my suggestions, worst case scenario you've got a bunch of drum mics that work well on other sources.
Anyone want to buy a CAD drum mic kit? Anyone? I'll trade it for a D6 or an AKG D112...?
soapfloats wrote: I should note that 421s run $300+ new... That
soapfloats wrote: I should note that 421s run $300+ new...
That's one thing that's keeping me away from them. I'm getting the new 414. Dumping a lot into that doesn't leave quite as much room for $300 tom mics.
I'm interested on opinions with the 57 vs. D2's subject
Don't worry Ben - I'm venturing into the mic shootout arena as a
Don't worry Ben - I'm venturing into the mic shootout arena as a way to make sure I have the best mic on each source when I do a new project.
I've just done it on vocals 6 times (4 for the same group), but plan to do some on toms and guitar cabs as well. Hopefully I can pick up some of the slack. I just need to improve my method a little.
Any tom mic suggestions? I've got the aforementioned 57/421/2020/414, but no Audix. A guitar shootout would include 57/421/414/Bluebird/2020/FatheadII... the other options I have would be less universal - Blue Ball, etc..
Shoutouts aren't the be-all end-all, as so many variables are involved (as both of our tests show), but I do think they can give someone an idea of how each mic generally performs on a source.
D2 vs. SM57 vs. 421 vs.'other' on toms. Just my opinion. I on
D2 vs. SM57 vs. 421 vs.'other' on toms.
Just my opinion. I only have this opinion cause I heard em all....more than twice. Or thrice....times twelve hunnnerd or so...
K. D2. Compact. Easy placement on almost any insanity called a drum kit that any drummer can possibly think of. Trust me when I say this....They are quite robust...very hard to break...they have a sound somewhere between the Sennheiser and a 57, though I would tend more towards a 421 with some larger low-end. Hyper cardioid so side rejection is at a high level...they work well with all sorts of sources, and there doesnt seem to be a hot spot in the frequency curve which allows a minimal of EQ'ng to go a long way as well as being able to use a large amount of compression without having to sidechain an EQ to get it flat. I love em. I own em.
SM57. Ahhh, the beginning and the end. You start with these and then you begin to think you have sophisticated ears and you move off into other mics thinking they are doing a better job. Then one day you're looking at the old mic locker and you see the forlorn dusty old 57's back in the corner and you think, 'Heck, I'll throw these up today just for old-times sake' and they once again shake your brain with what they are capable of doing to a sound in a mix. NOT unbreakable for drummers...placement can be a bitch, its good they have that stoopid off-axis sound thats money...if you havent experienced a 57/58 through a real high-end mic pre then you havent heard THAT sound. Remy will certainly be buried with a bagful of these. I'm not giving up my pair of 1975 Unidyne III's for anything. These have the 'smack' you want for toms down to a science.
MD-421. The spaceships have landed! You really need a great drummer for these as far as placement goes....."Errr, could you play with your cymbal placement a bit so we can get these mics shoved in here".....For what its worth, not only does this thing boast Real German Technology From the 50's, but it looks like some of the control handles on Buck Rodgers spacecraft. WARNING! The mic-clip thingy (is it a mic clip ....really) is NOT, I reapeat, NOT drummer proof. OR idiot proof. Yeah yeah...theres lots of people who will say. "I never had no problem with mine"....(lucky bastards...buy a lottery ticket and shut up).. So this mic sounds so good its kinda a no-brainer to own one or two or three. "Yeah, thats what yer toms sound like....wanna tune that thing?". But placement and hardiness arent part of the deal here.
Other. Beyer 201. Krickey thats a great mic! Unfortunately once you have one you're gonna want four. AT4033. This a huge drum sound. Unbelievable. Its a condenser so be sure the kit is welltuned and all the squeaks have been ironed out cause they'll all be revealed with a couple of these. SM81. Yes on toms. No I'm not kidding. I had five of em a few years back. Again, be sure the kit is well prepared and your environment is very sound controlled. Man they sound good. MD409. I cant talk about them right now......(sob).....Kel HM-1. You should have a couple of these anyway. A small diaphram condenser in a side address and tough as nails. Low toms and the kick...BOOYAH!
On another note...the entire D series from Audix is a great thing to have if you are doing multiple drummers or bands. They sound great on most sources and each one is voiced a bit differently. That gives you more of a pallette of colors to work from. For the last couple of years I have sworn by a D1 under the snare with either an i5 on top or the 57. It really gives you an accurate 'snare' sound to combine with the 'twack' from the top.
I think trying a 414 as an overhead is a good idea - especially
I think trying a 414 as an overhead is a good idea - especially since the mic is a good basic investment. But before you buy a second you might try out some SDCs as overheads. I'm using SM81s now. I've used NT55s in the past. Liked them better than 414s in my room. Might be because my ceilings are only about 7'8". At any rate, regardless of why, the sdcs all sound better as overheads to my ears. (Still have plenty of applications for the 414s.)
Sounds like a real nice drum mic setup! I don't know what your
Sounds like a real nice drum mic setup!
I don't know what your timeframe is on the C414, or if after all this you're still thinking about one. But there's a rebate right now on the C414 thru 10/31/09. Buy the C414 and AKG sends you a free pair of really nice K240 headphones. PM me if you want more info.
Mauisnow13 wrote: I've heard the D6 on kick and like the sound o
Mauisnow13 wrote: I've heard the D6 on kick and like the sound of it. With a little tweaking, you can get quite a few sounds out of it. .
ug, hardly. the d6 is a one-trick-pony. if you want something that gives you lots of flexibility, then get the beta52a. you can definitely tweak that however you want.
rockstardave wrote: [quote=Mauisnow13]I've heard the D6 on kick
rockstardave wrote: [quote=Mauisnow13]I've heard the D6 on kick and like the sound of it. With a little tweaking, you can get quite a few sounds out of it. .
ug, hardly. the d6 is a one-trick-pony. if you want something that gives you lots of flexibility, then get the beta52a. you can definitely tweak that however you want.
There are very few 'one trick pony mics' if you know what you're up to. Anything can be tweaked until it is unrecognizable as its original self.
A truly flexible low-end mic like the 52 and the D6 is the ATM25. Neither of these can touch it in terms of its true flexability.
May I once again suggest Electro-Voice mics? I use a set for stu
May I once again suggest Electro-Voice mics? I use a set for studio and live with great results. Though I prefer the lowly SM57 for snare, the EV ND478 provides a nice crisp snap for the snare, and ND468 (with shell clips) is great on toms, horns, guitar cabs, and even bass cabs. The ND868 is a "poor man's" RE20 for the kick, and also sounds great on bass cabs, cello, "dog-house" bass - I've even used it for VO and background vocals! For OH, I've used the RE200, but prefer others (like Shure KSM44s, or Rode NT4 or MC012. As always, YMMV.
Audix mics are groovy. Experiment with both the sm and beta, on
Audix mics are groovy.
Experiment with both the sm and beta, one might work well on one source and vice versa on another.
414's aren't a bad choice either, damn shockmount costs a pretty penny though.