Kelly Shu

simmsdn · #1 03-25-2011, 02:37 AM

I'm certain there are other folks out there using the Kelly Shu, but wanted to get a thread started. I searched and did not see a pre-exisiting one.

I bought the composite model. Didn't see much sense in dropping twice the dinero for the steel one. I am not a touring drummer.

I installed it in about 30 minutes (some good YouTube videos demonstrating installation, plus the included instructions are fine).

I have it mounted in a late-70s, 6-ply Maple, Ludwig Classic. Using a Sennheiser e602 microphone.

I've recorded a sample through a TASCAM US-1641 into Cakewalk Sonar Producer 8.3. First is raw, then compression, then eq, then compression and eq, and finally I retuned the drum recorded and added some compression and eq.

IDDrummer · #2 03-25-2011, 02:50 AM

I've been using one for quite awhile now. I love the convenience in setup.

Bo Eder · #3 03-25-2011, 02:53 AM

Those a nice. I bought a metal one a couple of years ago and never used it. I ended up selling it for what I bought it for. But I feel the concept is sound. Perhaps I'll try it again but I'm saving up for an EV RE20 mic, which I don't think the Shu will be able to hold ;)

IDDrummer · #4 03-25-2011, 02:55 AM

BTW, I noticed some strange audible artifacts from the processing in your sound clip. It might be the compression? I'm not an audio expert by any stretch. The basic sound was good in that modern, scoop-mid way, but the artifacts were distracting to me.

Frank · #5 03-25-2011, 02:57 AM

I don't think I get it. How much does that cost. It seems like a Whole Lotta engineering for something one can accomplish many other ways. What am I missing?

Bo Eder · #6 03-25-2011, 02:59 AM

Quote:

Originally Posted by Frank

I don't think I get it. How much does that cost. It seems like a Whole Lotta engineering for something one can accomplish many other ways. What am I missing?

It's not that expensive. I think the metal one I had was under $100. But it's a system that makes it easy for you to install it. But I think the horseshoe design works in this case for the better.

simmsdn · #7 03-25-2011, 03:12 AM

Quote:

Originally Posted by IDDrummer

BTW, I noticed some strange audible artifacts from the processing in your sound clip. It might be the compression? I'm not an audio expert by any stretch. The basic sound was good in that modern, scoop-mid way, but the artifacts were distracting to me.

That sometimes happens when I convert from a .wav to a .mp3 sorry. A problem with MP3 files in general. Plus I need the real .mp3 plug in for Cakewalk (I export the .wav and then convery to mp3 in Audactiy - sometimes doesn't work so well).

I don't really think this mic setup with a Kelly Shu really needs compression and EQ.

simmsdn · #8 03-25-2011, 03:16 AM

Quote:

Originally Posted by Bo Eder

Those a nice. I bought a metal one a couple of years ago and never used it. I ended up selling it for what I bought it for. But I feel the concept is sound. Perhaps I'll try it again but I'm saving up for an EV RE20 mic, which I don't think the Shu will be able to hold ;)

These things will hold some pretty big mics from what I've seen (to include the RE20).

I did my homework before I went a spent a whole $50 on the composite model.

Really all you need to do is cut the rubber tubing shorter to keep it tight for the heavier mic (I cut mine 2", might go 1.75" for the RE20). I've seen dude mount the D112 and Beta52 with 2" rubbers.

I'm really tripping on how good this sounds (and how much better it CAN sound).

Now I'm learning even more about tuning a bass drum than I ever knew before. A minor change in tension on that full reso head I use (Aquarian Regulator), makes a massive difference in the sounds picked up by the internal mic. 30 years later, I must re-learn what I have learned.

IDDrummer · #9 03-25-2011, 03:19 AM

Quote:

Originally Posted by Frank

I don't think I get it. How much does that cost. It seems like a Whole Lotta engineering for something one can accomplish many other ways. What am I missing?

It's just a relatively inexpensive internal suspension mount. Works great, saves set-up time, you don't have to port your resonant head...

Bo Eder · #10 03-25-2011, 03:21 AM

Quote:

Originally Posted by simmsdn

These things will hold some pretty big mics from what I've seen (to include the RE20).

I did my homework before I went a spent a whole $50 on the composite model.

Really all you need to do is cut the rubber tubing shorter to keep it tight for the heavier mic (I cut mine 2", might go 1.75" for the RE20). I've seen dude mount the D112 and Beta52 with 2" rubbers.

I'm really tripping on how good this sounds (and how much better it CAN sound).

Now I'm learning even more about tuning a bass drum than I ever knew before. A minor change in tension on that full reso head I use (Aquarian Regulator), makes a massive difference in the sounds picked up by the internal mic. 30 years later, I must re-learn what I have learned.

Cool. Maybe I'll re-consider, but I still think that's alot of weight for the rubber straps. And I already have a nice shorty mic stand for my bass drum mic ;)

Frank · #11 03-25-2011, 03:33 AM

Quote:

Originally Posted by IDDrummer

It's just a relatively inexpensive internal suspension mount. Works great, saves set-up time, you don't have to port your resonant head...

You're talking to someone who doesn't have a BD reso head. :)

IDDrummer · #12 03-25-2011, 03:33 AM

Another advantage is that your bass drum mic stand or boom never gets bumped. We will often have folks up on stage dancing with us, and my boom stand was forever getting kicked or otherwise knocked around. Not a problem any more!

IDDrummer · #13 03-25-2011, 03:34 AM

Quote:

Originally Posted by Frank

You're talking to someone who doesn't have a BD reso head. :)

Too bad, you're missing out on some great tone! lol

Frank · #14 03-25-2011, 03:35 AM

Still not getting it.

I have a gooseneck mic clamp on my BD that reaches inside it, and my band leader
has a shortie mic stand. Between our two options, if we can't catch a good sound, it's
time for us to go home. :)

Frank · #15 03-25-2011, 03:40 AM

Quote:

Originally Posted by IDDrummer

Another advantage is that your bass drum mic stand or boom never gets bumped. We will often have folks up on stage dancing with us, and my boom stand was forever getting kicked or otherwise knocked around. Not a problem any more!

Give them a breathalizer before you let them up. :)

IDDrummer · #16 03-25-2011, 04:11 AM

Quote:

Originally Posted by Frank

Give them a breathalizer before you let them up. :)

Where's the fun in that?

timmdrum · #17 03-28-2011, 07:12 AM

Quote:

Originally Posted by Frank

I don't think I get it. How much does that cost. It seems like a Whole Lotta engineering for something one can accomplish many other ways. What am I missing?

Quote:

Originally Posted by Bo Eder

Cool. Maybe I'll re-consider, but I still think that's alot of weight for the rubber straps. And I already have a nice shorty mic stand for my bass drum mic ;)

Quote:

Originally Posted by Frank

You're talking to someone who doesn't have a BD reso head. :)

Still not getting it.

I have a gooseneck mic clamp on my BD that reaches inside it, and my band leader
has a shortie mic stand. Between our two options, if we can't catch a good sound, it's
time for us to go home. :)

Frank, if you don't have a front head, then that particular convenience obviously doesn't apply to you, but there's still a lot more to consider. I can't count how many times I've had a bandmate kick a short mic stand out of place mid-song. The Shu eliminates that. I'd imagine your clamp & gooseneck does too, but I've seen those lose their.... uh, stiffness, after a while, if that makes any sense. I used to use one of these (it's the same diameter as most tom mount arms) mounted upside down in the drum from the tom mount bracket (with memory lock to keep it from falling onto the bottom of the shell, if the bracket's wingnut should fail or get bumped loose), with a 3 inch cut-off piece of a mic boom stand arm mounted in the clamp that held the mic. It worked like a dream. When I got my Mapex Pro-M, it wasn't drilled for a tom mount so I got the Shu.

I do have my front head ported 'cause I leave the mic mounted in the drum all the time but don't leave my mic plugged in when stored & transported; the port is for easy access plugging/unplugging rather than sound. Also, Bo- the rubber straps are surprisingly sturdy. No problem at all with any of the various BD mics I've mounted on it.

I have no sound issues with either method. Easy as pie. Seems like the Shu would offer better isolation from vibration, but if I had any vibration issue with the Gibraltar part, I couldn't tell. My Shu is mounted off-center, close to the port which is at about 4:30, with the mic pointed at an angle, to the left as you're peering into the drum from the front, at a point about halfway between the beater impact point and the bearing edge. With the Gibraltar part, the mic was hanging a bit closer to center but still pointed toward the same spot on the batter head.

Mr.L · #18 03-28-2011, 03:50 PM

Being a fan of gigantic, wide open BDs, this sounds execptionally dead to me.
I can see why people would like these though.