Double mic

[dunk_1984]

I know this is a bit different but it does show an example of an obviously well researched bit of micing/DIing.

 

http://ratsound.com/cblog/archives/28-Day-...n-Show-Day.html

[Bobbsy]

if I see an amp I've never seen before, then I'll ask the guy to play some stuff. I'll then stick my head around different parts and listen out for a sweet spot :)

 

If there's one bit of advice to take away from this topic, this is probably it.

 

However, it doesn't just apply to guitar amps; rather, any instrument you want to mic can benefit from this treatment. I've had many a strange look when I've been caught on hands and knees crawling around a drum kit, but it is amazing how much difference an inch or two can make in terms of placement.

 

The only addition I'd make to this is to make sure you also stand back and work out what the instrument should sound like at audience-range, then tweak your placement and EQ to match what you've heard.

 

(Though, following on from paulears' post, the above only applies to musicians who already sound good! I won't be risking my ears crawling around the dustbin lids he mentions!)

 

Bob

[djw1981]

As a slight aside, when double mic'ing a kick drum, would you use two of the same type (i.e. 2x 112) or different (112 and a B91)

[Rob_Beech]

Generally speaking it would be 2 different mics. Using each mic to pick up a certain sound or characteristic of an instrument. This is not ALWAYS the case, as sometimes you wish to pick up sound from 2 different parts of an instrument and the same mic is suitable for both, but generally speaking the idea is often to use different microphone types to capture a different style as mentioned above in this topic.

[Bobbsy]

When I double mic a kick (and it's a trick I use often) it's two different mics. Generally it's something like a 112 (though I often use my old D202) in the hole to get the deep thump, and something like like an SM57 (or even a cheap condensor) pointed directly at the beater head to get the "click".

 

Bob

[mervaka]

a favourite mic of mine is the yamaha SKRM-100 subkick. its nothing though without an SM57 or something to support the top end pickup!

 

you do tend to get odd looks from the punters when you have a snare can up against a bass skin though :D

[lightsource]

When I double mic a kick (and it's a trick I use often) it's two different mics. Generally it's something like a 112 (though I often use my old D202) in the hole to get the deep thump, and something like like an SM57 (or even a cheap condensor) pointed directly at the beater head to get the "click".

 

Bob

 

Bass Drum.....

 

My technique, is a D112 for the thud, and a SM57 for the click. The D112 (depending on the drum skin) is about at the 4:20 setting (clock position) and the SM57 is directly opposite the beater.

 

Seems to do the job!

[avdavesound]

my fav drum mic is the audio technica at 2500 duel element . no need to worry about phase 2mics in one, a dynamic and condenser. if you want that metallica kick sound(thats what big mick uses). you can also use it on almost any other instrument.

also try audix d6 another great mic

[dunk_1984]

...also try audix d6 another great mic

 

Definitely, up until recently I too would have said something like D112. However since using this mic on a couple of gigs would choose it above the others in an instant these days.

[Rob_Beech]

Another for D6 for single or dual mic purposes. If you only have one channel a D6 will capture it all. Put it with a 57 for the beater and yet another improvement. I've yet to try the new Audix I5 snare mic. I'm wondering what that will be like pointed at the beater on a kick drum. we'll have to see.

 

D6 are also my preference for solid skins aswell. No hole, no problem. D6 seems to work well here where others give up.

 

Rob

[i_hate_fisicks]

I have never seen anyone point a 57 at a kick drum beater.

 

The most common way I see, and I would go as far as to say that it is the defacto standard kick drum micing technique (at least on the gigs I do - national level touring acts, university circuit sort of thing) is a Beta91 inside the drum and a Beta 52 in the hole.

[paulears]

It's only the defact standard if you are a Shure man. Plenty of people have very different kit in the box. I'd go so far as to say there's no such thing as a standard. SM58 used to be a standard, but instead of a direct replacement, there are now all sorts of possibilities. Metallica, for example now have Audio-Technica 2500 Artist Elite for kick duty, The Chilli Peppers used to have EV R20 and SM91, and have evolved into an SM91 and Audix D6 - so just using these examples shows it's never static.

[conan]

cheers for that but one last question.

 

 

I have access to a D112 and SM57s the placemnt for the D112 is no problem but for the SM57 on the kick how far away from the beater and would you place it laying on som padding or stand? also for double snare would you gate both mics and can u use for example 2 sm57s

[lightsource]

I have never seen anyone point a 57 at a kick drum beater.

 

Well, I've never seen anyone fly a JBL VerTec rig, or hang a MAC2000 but I'm sure there are some BR members who have

 

cheers for that but one last question.

 

I have access to a D112 and SM57s the placemnt for the D112 is no problem but for the SM57 on the kick how far away from the beater and would you place it laying on some padding or stand? also for double snare would you gate both mics and can u use for example 2 sm57s

 

We usually place the beater mic on the back of the Bass drum (same side as the D112), about 1 inch away from the skin, directly opposite the beater. We use a short mic stand for this.

 

Ensure the bass drum is fixed in position, as badly secured bass drums have a habbit of inching forward, every time it's struck, which would mean the 57 would be actually touching the skin within a few seconds.

 

As far as the snare mics go 57 on top and bottom is no problem, but a little cluttered if you're using mic stands on this side of the kit ( hi hats, snare crash etc etc), so if possible, try to get the drum mounts for the 57's if you can. Alternativley, a couple of clip on PG 56's are also good. I usually gate the snare top, but not the snare bottom.

 

We also usually phase invert the snare bottom mic.