what mics to buy?

I have heard of people using a pair of SM57s for overheads with very good results. For basic gigging, I'd think that would suffice for most people.

I agree. Sometime ago I miced an entire 7 piece kit with just SM57s for demo puposes and the outcome was impressive.

Dennis
 
Don't forget the "recording-chain"

nr 1: the drummer itself
nr 2: the drumset and its tuning
nr 3: the mics
nr 4: the preamps
nr 5: the converters
nr 6: the cables


I guess, with the mics you selected you can't go wrong.
SM57 is cool, e604 on toms should be working. Had them when I started recording but find them way too bassy.. but that could have been a problem of positioning in my case as well.
I like the audix d6 more than the d112 but you should try it, or even order both and compare them and then send one back.


Something I would consider to do:
Start with 2 mics or 4..
Buy very good overheads as they capture your whole kit. You can even get an amazing drumset sound with 2 overheads.
Then you can add other high-quality mics as well.

Also consider to buy a good preamp/interface.

When I started recording I thought:
"Well, I'll buy this alesis firewire mixer, shouldn't be a problem" - it was -> the alesis sounds like sh*t ... you won't recognize it but later you will hear that they just sound bad..


Good luck with recording :)
 
Don't forget the "recording-chain"

nr 1: the drummer itself
nr 2: the drumset and its tuning
nr 3: the mics
nr 4: the preamps
nr 5: the converters
nr 6: the cables


I guess, with the mics you selected you can't go wrong.
SM57 is cool, e604 on toms should be working. Had them when I started recording but find them way too bassy.. but that could have been a problem of positioning in my case as well.
I like the audix d6 more than the d112 but you should try it, or even order both and compare them and then send one back.


Something I would consider to do:
Start with 2 mics or 4..
Buy very good overheads as they capture your whole kit. You can even get an amazing drumset sound with 2 overheads.
Then you can add other high-quality mics as well.

Also consider to buy a good preamp/interface.

When I started recording I thought:
"Well, I'll buy this alesis firewire mixer, shouldn't be a problem" - it was -> the alesis sounds like sh*t ... you won't recognize it but later you will hear that they just sound bad..


Good luck with recording :)

Great info!! thanks!
 
I'm scanning and seeing a lot of good advice. A friend of mine does a lot of mixing (& now even has a grammy nomination for it), he was telling me that fancy mikes don't really bring anything to the table that'll make a difference in the end. He looked at my mix of Audix D series, Shure 57's & beta 52, audio technica overheads and said "Yeah, that's all good to go."
 
I'm scanning and seeing a lot of good advice. A friend of mine does a lot of mixing (& now even has a grammy nomination for it), he was telling me that fancy mikes don't really bring anything to the table that'll make a difference in the end. He looked at my mix of Audix D series, Shure 57's & beta 52, audio technica overheads and said "Yeah, that's all good to go."

Definitely not true..

If you compare some neumann overheads with audio technica overheads, you will definitely a difference!
Or if you do a lot of very dynamic and warm jazz stuff with for example a lot of brushes you will want to use a neumanm tlm 103 or something like that on the snare instead of a crappy sm57 or i5.

Of course the rest (preamps, converters, drums & drummer!!) have to fit as well.
And of course it's all about taste, but saying theres no difference that would make it.. Not true..

I would agree if he said: "if you compare high end mics".
And no offense but I learned that even a grammy nomination doesn't instantly make somebody a good mixer. Some modern music was mixxed by totally well known people and sounds shitty.
 
Definitely not true.. (...) on the snare instead of a crappy sm57 or i5.
I think that's a huge overexaggeration. I could agree on (many, not even all!!) Neumann & other hi-end mics having 'more clarity' or 'depth' but calling mics like the SM57 or i5 crap is inaccurate. In fact, if you can't get a good sound of an SM57 (meaning with some mics you might get even better results, depending on the situation) chances are you haven't maxed out all options (mic placement, angles, making use of polar pattern/proximity effect etc). Plus, some drummers are using the i5 because of the sonic properties - e.g. Todd Sucherman - and those could use any mic they wanted. So what do you think makes them prefer an i5 instead of mics costing multiple times? The i5 is considered to sound like an EQ'ed SM57 - not a bad reference!

Plus, keep in mind (I guess you already know but let's point that out anyway) that while some sonic differences might be evident when listening back to single tracks the situation changes when it comes to combining tracks/working on the complete mix of dozens of tracks. Aspects like clarity (Neumann-esque) are beneficial in that scenario but provided you're experienced with recording you might even prefer cheaper mics for some situations instead of Neumann & alii _because_ of the specific sound you're getting.

Kalma, don't forget that regardless of gear used, some people (engineers) _want_ the result to sound... sh*tty as you said. How do we know the music _didn't_ sound good at some time but was deliberately ruined (plug-ins, 'wrong' EQ settings etc) by the sound/mixing guys because somebody/they wanted it that way?

BTW, mic choice and placement makes _by far_ more difference than preamp and converter quality. Meaning you can save quite some money with stuff in the medium price range but utilizing it to the max instead of having hi-end stuff and messing things up. Just saying.
 
I'm scanning and seeing a lot of good advice. A friend of mine does a lot of mixing (& now even has a grammy nomination for it), he was telling me that fancy mikes don't really bring anything to the table that'll make a difference in the end. He looked at my mix of Audix D series, Shure 57's & beta 52, audio technica overheads and said "Yeah, that's all good to go."

That's pretty much what I have! I have never used Audix but I use Audio Technica. Their PRO35 condensers can't be beat for toms or snare or hand percussion.
 
I have heard of people using a pair of SM57s for overheads with very good results. For basic gigging, I'd think that would suffice for most people.

57s are like the seasoning salt of the mic world. Works good on almost everything!
 
I'm getting a Nady bass drum mic and 2 Behringer condensers for overheads. $140 out the door. Quality stuff.

I still have an old Teac stereo mic that I use for recording and I got great results using it as a bass drum mic for the 24" Slingerland I used to own. The reso was thin and solid (no hole) and I put the mic about a foot or two in front of it in a small room.
 
Im Looking for just a kick mic is there a fav that we can agree on??? it would be for live stuff......
 
I'm getting a Nady bass drum mic and 2 Behringer condensers for overheads. $140 out the door. Quality stuff.

I still have an old Teac stereo mic that I use for recording and I got great results using it as a bass drum mic for the 24" Slingerland I used to own. The reso was thin and solid (no hole) and I put the mic about a foot or two in front of it in a small room.

I use a couple Behringer condensers for overheads. They are a great value and sound terrific.
 
The topic of recording drums is a forum in itself.

What is your budget?

If you just want a whatever all around sound and have a
couple hundred to spend, just get 3-5 sm57's and call it a day. Mess
around and make sure your drums are tuned well and you are in a good sounding room.

Karl
 
Ok so i have bought my mics now and although this is a bit off topic i really can not find an answer. what do you use to carry your drum mics to gigs and stuff. I have looked around and all i can find are cases for standard hand held mics. Because the drum mics are such strange shape they wont fit in those holders what are your guys solutions. In case this helps the mics i have are, 2 little blonde mics, 1 AKG D112, 1 SM57, 2 Sennheiser e604 and 1 audix D4. Any suggestions are greatly appreciated.
Thanks Jack
 
Audiotech I would appreciate if you could share your wisdom on the Yamaha Subkick.
Currently I use a D6 in the port(head with KickPort) or outside(resonant head without port) and a CAD m179 a foot away from the resonant head.
Will a SubKick give me anything I can't do with EQ, compression or mic placement?
 
Im Looking for just a kick mic is there a fav that we can agree on??? it would be for live stuff......

Just got a Demo Shure 52A With a 20" cord for 120.00 for my bass will let ya know how i like it when i get it..
 
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