It's been ages since I've used my ADATs (blackfaces and XT20s). When I did, I had racks within which I mounted them, and the angle of incline was minimal. Now, I work almost exclusively 'in-the-box' soon will acquire a desk with rack modules. The desk's rack module configuration places the ADATs at a radical incline, should I choose to rack-mount them in the desk.
I like to sit back in my chair and I pref don't want the mic on the spider in my face.
What can I get away with?
My question is mainly in regards to spaced pair.
The more I read about OH drum Micing the more I read that both mics should be the same distance away from the snare drum to avoid any phasing problems and keep the snare in the centre of the stereo image.
But I have a question, due to the fact that the snare is off to one side of the kit (most of the time) not always directly in the middle of the drumkit, doesnt this mean that the overhead mic on the "ride side" will fall short of picking up the other side of the kit? Know what I mean?
Hi, I am working with a RODE NT1 with the SM1 shockmount. I am having trouble angling the mic into the proper position using a boom stand. I don't have the option of setting up the mic close to the performer, so I have the boom extended. I am wondering if anyone has any suggestions. The SM1 only pivots just a little bit and that's what is making it so difficult to work with.
For now, I telescoped the stand all the way up and then angled the boom down to the performer and attached the shock mount upside down.
Anyone have this problem?
Hello all. This is my first official post. Yep, another newbie. Anyway, I know this a loaded question but I have to ask anyway. I've read a lot of professional advice on here so I thought I'd give it a shot. I'm struggling with capturing my amps true character when I record. Just to let you know what my chain consists of,,,,ESP MII with Duncan SH6's in the bridge and PAF's in the neck position - 5150 ll - BBE 362 in the loop - into a Marshall 4X12 loaded with G12T-75's. I use an SM57 into a Behringer XENYX 1002FX Mixer/Pre into a MAudio Delta 44 sound card.
I was wondering if anyone had a favourite book on this subject that they'd recomend. It's something I really need to study and would be gratefull of any web address and or books that you have found useful on this subject.
Via Con Dios.
DAvid Ian Vaughan.
OK, I've heard everyone say to place your Nearfield Monitors in an equilateral Triange to your listening position. I'm fine with that.
But I also remember concerns with Phase distortion when speakers are angled towards the center.
So, which do you prefer?
A) Nearfields pointing STRAIGHT OUT, parallel to each other...
B) Nearfields pointing to your head, in the "sweet spot".
The KM 183s For overhead drum mics in XY.
If XY mics are above drummer should the Nuemann Logio face up or down?
[ February 29, 2004, 03:53 AM: Message edited by: JJM ]
Hey guys. This is probably a stupid question but possibly important to me.
Is it okay to have a computer tower on a piece of plywood on a carpeted floor. I was assuming that being on the carpet itself would be bad because of static electricity. I could be completely wrong about that as well but i figured just in case... I guess my question to the point is does wood conduct static electricity?
I have a great sounding studio drum kit (Ayotte/Paiste) and a great sounding wood/concrete/carpet room that measures approximately 20'x22'x11' high with a vaulted ceiling. It's professionally spec'd and acoustically treated (bass traps, dimensions, etc.) I know it's not large by drum room standards, but it sounds large and powerful. However, I've never been able to translate the power of the room sound to "tape" (PT Mix +). The drums are usually along the long wall. I often place the OVHs like RecorderMan suggested with additional snare, kick, and hi-hat mics (love the blend!)