Originally Posted by BacteriumFendYoke
I like the idea but I'm not overly fond of the mix.
In my view, the toms are far too forward in the mix and the cymbals are too far back. Personally, I always mic my overheads to get a balance between the two, with cymbals being the dominant partner. I think your high tom is also slightly clipping the recording - I'd imagine this is a mix issue rather than the mic reaching its maximum SPL limit.
The kick sound is quite solid but could do with just a little more low-end punch and a removal of some of the mids. The idea of using a boundary mic is a good one but I'd replace the kick mic with the boundary in the drum and then run another condenser as an overhead farther back from the kit.
The stereo image is also quite extreme. Personally, I'd go for a narrower stereo field (that's why I usually mic X/Y or when possible M/S so I can choose the width).
The mics themselves are quite transparent and I like that. The fact that you have chosen not to EQ is commendable and you've managed to do well for eliminating too much crossover between the different sources.
I hope this doesn't seem too critical! I really like the way you're thinking and I approve of mic minimalism when appropriate. Just needs a little tweaking.
Thanks for the feedback, really helpfull :)
This is still a "prototype project".
In my actual setup :
- The boundary is above the snare, about 1,2 meter. (used as overhead and snare capture)
- the clip mics are used for toms
- the kick mic for the bass drum
I'm going to catch the bass drum with my second boundary mic. You gave me a good idea :)
About the mix : there is only a pan left / right for the tom mics.