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Micing a set of A's?

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  • Micing a set of A's?

    I just recently purchased a Pearl Vision acoustic and a TD-9. I use the TD-9 for practicing at home, but I'm using the Pearl for gigs. Can anyone recommend a good set of drum mics? I'm looking to spend around $500 not including cables and stands.
    It's not a matter of luck...it's just a matter of time.

  • #2
    The best thing to do is to piece together a set (which I am currently doing). While there are good packs out there, often a kit that has great mics for the snare will have shocking overheads. You'd be suprised what can be had! Obviously, you really cant beat an SM57 for the snare, but other than that, read lots of reviews. I went with a D112 for my bass drum as it was a known quantity to me. However, personal taste will bear out. Read some reviews and find out what some others use.

    Work out what you really need. Do you need tom mics, or will you manage with just overheads? Either way, you'll need some good pencil condensers for that. Look at sontronics if possible. I managed to get some at a discount (a special deal with my uni) and they are fantastic.

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    • #3
      I always used 57s for snare and toms The AKG D112 for Bass drum. Like ige87 specified. That combo always held up for me. If you are a heavy hitter. The 57s also take a beating if you accidentally hit one with your stick (Even though you shouldn't) The little mikes are nice, But I would be scared if I hit one, It would shatter. Most of all the 57s and D112 have a great sound. At the end of the day like anything else it comes to preference.

      Vinny
      Roland TD-8 Mod, DIY burgandy Mapex drums 12" snare, 8" 10" and 12" rack toms, 14" rack floor tom, 22" Bass drum , 3 cy-15r cymbals, one for the ride 2 for the crashes and cy-14c for hi hat.

      Songs i've recorded using my old TD-7

      My drum kit

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      • #4
        Triggers instead of mics

        Hi,

        Instead of using mics and the hassle of eq, effects etc etc I now trigger my A kit with roland triggers, a TD20 and 2 overhead condenser mics for the A cymbals. You can of course use the TD9 instead of the TD20

        What I get is a great stage sound and an even better FOH combined sound plus I don't have to carry a huge monitor setup to hear my TD20 on stage.

        regards,

        Sean
        Sean Smyth

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        • #5
          When I was looking, I went and spent an hour talking mics with the tech at the uni's recording studio. He said that while some other bass mics would be better for recording, you'll always get a good, punchy live sound from a d112 and you really can't beat a SM57 for snares and toms. Even a bass drum at a push.

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          • #6
            http://homerecording.about.com/od/mi...egreatmics.htm

            I would definitely go for fewer good quality mics than lots of mediocre mics. You can get a great sound from just a pair of overheads, a kick mic, a snare mic, and (if you have the $ and inputs) a hat mic. Also, if you have a little more $ and another input available, you can get a great sound from 2 mics on the kick...a large diaphragm inside, and then a standard instrument mic, like the Shure SM57, on the batter head aimed at the beater. This can give you a big boomy sound while also getting some punch and attack definition.
            Stick twirling - because you obviously have mastered all other aspects of drumming already, right?

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            • #7
              I have found that unless playing to a venue that holds over 500 people, cymbal bleed into close mics is enough to be heard just fine. So, I agree with the d112 on the kick. I also like the 57 or the Audix i5 for snare. For toms in a live situation, I like the sennheiser e604s, they are small and sound decent. I recently picked up an AT2020 condenser and have been fairly impressed with its performance on anything that I have thrown at it. It would probably make a pretty good OH mic, if needed.

              J
              Edrums- KD-120, PD-125 (3), PD-105 (3), Yamaha PCY155, PCY-135 (4)
              Module - Roland TD20X
              Software - Pro Tools and Toontrack Superior

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              • #8
                $s are the biggest problem......I agree with a few of the other suggestions above - go for fewer but more expensive mics (if you must play acoustic.....):
                - D112 or M88 for Kick (can be mounted inside the kick)
                - SM57 strategically placed can pick up the snare and HH and can be mounted on the HH stand
                - a pair of good overheads can do the toms and cymbals - SM57s again are ok for this and it gives you a backup in case one decides to "die" on the night....
                Placement is going to be the key to getting good sound with few mics - proximity effect, cancellation, 1 to 3 rule etc all need to be taken into account, but the above solution gets you going with just 4 mics.

                Another option would be a PZM attached to a perspex screen - one mic does all in this situation..... (or 2 for stereo)

                Overall though.....I recommend putting the $s into a TD-20 and just plug it into the PA......sorry, but I've been converted to e-drums nowadays and can't see that it's worth the trouble to lug a's and mics around any more........and I guess this comment opens the door to controversy which has been covered under other threads.......

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                • #9
                  Personally, I'd rather have tom mics than overheads as a decent pair of condensers will pick up the toms perfectly, and you've got less mics on the kit. IMO, there's nothing worse than a setup where you cant see the drums for stands, cables and mics. I gig with 5 mics-bass, main snare, pic snare and a pair of OHs (when I need them) and have had no complaints. Also, further to a point above, I gave a 57 a bit of a whack last gig, not a problem at all, though I'd be scared to death of doing that with one of those little clip on things.

                  Herc, don't you find you get a lot of noise from having the mic on the hats stand, or is it shock mounted?

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                  • #10
                    Hi ige87, a good point on the HH mounting of a mic - I was assuming a shock mounting and technique that doesn't bounce on the HH pedal ......in hindsight a separate stand is a much better option.

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                    • #11
                      Thanks for all the input guys. I really appreciate it. I'm gonna take all the advise and piece together a set of mics. Basically what I gathered is...quality over quantity and I could get away with a 5 piece mic set. I'm gonna start reading some reviews. I have an uncle that works for Sennheiser. Looks like we'll have to take a field trip to GC this weekend. lol. Thanks again for the help. I'll let ya know how I make out.
                      It's not a matter of luck...it's just a matter of time.

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