Originally Posted by audiotech
To start off, you're getting quite boring and I really haven't the time to put up with your childishness and insecurities since I do have to work for a living. Another point of interest. If the audio quality of your bass drum recordings using your new duo mount even comes close to that of your spoken word on your so called "promo video" then your mounting system will have much to be desired.
Let me once again find the questions that you ask. The most wanted studios in the world use two, three or more microphones for most of their bass drum recordings for the same reason that I do, to capture the sound of the drum with complete faithfullness and to fulfill the expectations of the producer of the session. This may consist of using a ported resonant head, a non ported resonant head or no resonant head at all. Let me know if I'm typing too fast for you to comprehend. Sometimes I'll build a sound tunnnel in front of the bass drum after taking off the resonant head. I might mic the drum at the end of the tunnel, at the opening of the drum and to control the beater attack I'll place a microphone to pick up the batter head. I have hundreds of techniques for micing just about anything and if I go into too much detail, your head will surely explode. Throughout all the variations of micing a bass drum, neither me or any of the other engineers I work with ever had the use for or needed a bracket to mount two microphones on the same plane of sound inside of the drum. If there was a need for this in the studios that you mention, don't you think this bracket system would have been developed much earlier by someone much more experienced with sound than what you are? Know what (1) microphone to purchase to cover the frequency response that you're trying to capture and have a bit of experience positioning it, then you won't need two bouncing around on some homemade bracket. You'll never achieve the utmost accuracy and control of the sound with your double bracket that you would with the second microphone positioned outside of the drum, be it the resonant head, batter head or sometimes both.
I have no idea what you're talking about when you say I won't hear if you pull cables through the port hole? All I said was I've seen tearing of the port hole when microphone cables were routed through them. You know at some point in time, someone or something is going to snag a cable, or in your case two cables, and tear a head when they're pooking out of the port hole. You are grasping at straws my boy.
You probably don't know me, in fact there may be two people that am aware of on this entire forum that really know me personally. If you do know me and know what I"ve done for a living over the last forty five years, you would not be attempting to technically spar with me. I've had to repeat just about everything two or three times now and that's entirely too much. I no longer have the enthusiasm or time to respond to your provocations, unless they might give me a chuckle or two.
BTW, show me proof that Lang uses five or six microphones on his bass drum and also, can you name the models of the microphones since you're privy to the other information. I wouldn't want to add the word liar to your credentials, it's never good for business. Oh, what about this Harrison guy, what does he use.
Now go to bed.
Dennis, I'll never use two mic's inside a bass drum, in fact, I generally avoid a mic in the bass drum at all if circumstances allow, so I have no direct experience of this specific mic'ing method, & therefore no opinion of worth.
That established, I do feel the need to chime in here. David is a good guy, & I for one are not sensing any provocation or childishness, just a genuine curiosity to identify potential issues on something that works for him. I think you're being a bit prickly to say the least. You have a wealth of experience in this specific arena, we get that, but being high handed is not a good presentation of what you have to offer. Not picking a fight, just a gentle nudge.
Respect to all, Andy.