micing

some tips for recording a great drum sound ..

i track, mix, master

miketarsia.com

I stopped recording about 8 years ago and just recently decided to get back into it. I have a decent set of drum mics but they do not include any "overhead" mics. I ended up using two large condenser mics that I normally use for vocals but what I'm finding is that the snare comes out really loud, not giving me much control over the SM57 I use directly on the snare. The more I turn down the overheads in the mix, the less of high hats, ride, and other cymbals I get, making the drums sound kind of muddy.

I like the R121, 57 combo and want to perfect this for myself so I thought this thread would be timely since we are talking about phase issues and ribbon mics here as well. https://recording.org/threads/ribbon-condenser-combination-for-lv.62469

There are plugins like time adjuster. You can flip the polarity and sweep the length of the delay until it thins out the most, then flip polarity back. Anyone use this?

Did some testing with the Weathervane/Decca Tree overhead micing setup..

Took forever to setup.. Pretty cool.. too bad my ceiling is low..

I have a sax quartet and need to record our performances for some QC. The music we play are jazz standards and the arrangements have a lot going on in the inner voices. We need to be able to listen to our performances to check out how we balance on set vs in rehearsal. Our set up is usually in a V. I am unable to place a mic stand in front of the group past the front music stands. If I have to have the mic stands in in back of the group or close in front, what cost effective microphone(s) would you recommend I use, placed where and pointed where?

https://www.youtube.com/user/royerlabs


Blending Microphones:
micing guitar cab with a Royer R-121 and a Shure SM57. Special attention to phase alignment and mic placement technique.

Hi,


I've got a session tomorrow and Saturday with a classical vocal sextet and am looking for advice in terms of miking them.
The mics I'll be using are a pair of RØDE NT5's small diaphragm condensers and pair of Audio-Technica AT4040 large diaphragm condensers. The venue is a small church.


The sextet are used to standing in a small semi circle when performing so I am looking to keep this formation.

So, I sometimes use the SIR1 plugin for reverb (its free!). It takes impulse responses of different locations around the world to simulate reverb. You can even make your own, which I did. I took a pair of SDC's and recorded them in XY inside a giant staircase in my school. It sounds pretty cool.

To make a larger stereo-spread reverb, can I use the M/S technique? I just got a figure-8 ribbon. If I did this, could I just use the doubled side tracks (being flipped phase of course), or do I need the mid too? Or is it whatever I want?

We are about to do Les Mis School's Edition and I have the lovely job of doing the sound.
However, looking for some advice.

This is the Orchestra... all single instrumentalists unless stated.
Keys 1
Keys 2
Acoustic/Electric Guitar
Bass Guitar
Violin 1
Violin 2 x2
Viola x 2
Cello
Flute
Clarinet
Oboe/Cor Anglais
Bassoon
Trombone
Horn 1
Horn 2
Trumpet 1
Trumpet 2
Drumkit
2 x Timpani
Sax (Sax is also doing percussion)

Thinking of solo classical string bass- I’ve had this come up twice this year. What do you all do for accent micing? Any success stories for Mains positions?

My best success has been with a stereo 414s in fig 8, aimed at the lower portion of the front panel, with the null on the bridge- from about 2ft out. https://soundcloud.com/user8380752/sets/solo-bass-samples

I’ve got:
a good acoustic room
2 Schoeps CMC62s
3 AKG 414s
2 MBHO omni/cards