The flat mic is mostly for my Buttkicker, a nice immediate 'pop' that translates nicely to the seat. the Beta52 picks up a little more of the air inside the kick for more fullness. We experimented a bit with the positioning, and found that the angle was a little better for the overall sound.Bermuda,
That is a unique set up---does that position give you that solid thud beat? Almost all the pics of the Kelly show the mic centered and facing at the beater.
The D6 has so much attack, pointing direct at the beater may be overkill anyhow.with the d6 i'll try to aim more towards the side and see how much attack i lose---thanks guys
There are pros and cons for sure. The install for the Shu isn't the most straightforward thing, but it's not so bad either. The biggest issue is figuring out where you want the mount, and adjusting all the elastic bits as necessary. After that, you still have some range of motion forwards, back, and directional facing. If you want to do a major change, then you have to redo the elastic bands again.I personally prefer the Randal May internal Monorail system instead. Much easier to mount inside and still flexible to get your kick mic anywhere you need a lot faster and less screwing around. Kelly Shu always seemed much more complicated than it needed to be.
I can't really see how. Without looking up the specs, the weight difference is probably a few ounces at best. The piece is essentially shock mounted in a large case, I can't see wear and tear ever being any kind of factor.That's pretty darn cool. Does it pay to go for the Pro if you just have fairly light duty schleps? Composite price is more attractive.
So will I. Hell, that's happening now. Good deal, thx Calan.Perhaps the polymer will go brittle and start cracking in the next 20 years.
I use the Shu with an Audio D6 in my kicks as well. I have it positioned as close to the reso head as I can without the mic cable touching it. And the mic itself is pointed directly at where my beaters strike the batter head.
My positioning also, but I use this (at half the price) .
Gibraltar SC-GBDIMM Bass Drum Microphone Holder
Mount attaches directly to the lug screws inside the bass drum shell.gibraltarhardware.com
Absolutely no resonance issues , never had it come loose- screws get precautionally checked/tightened during reso head changes (which is once every couple of years) and I'm plugging and unplugging the mic cable 100 times a year.
Good bit of kit
DPA Microphones claim to have achieved great results with their 4007 Omni microphone mounted through the reso port, slightly to the side. I can see experimenting with this in a treated room just tracking only the drums. I think it would pick up everything on stage in front of the drums.Has anyone here ever tried using an omnidirectional mic inside a bass drum?
Any guesses to what it would sound like?
Probably bad because who does that?
It would make for an interesting experiment, ported and un
But internally mounted isn't in front. My internally mounted cardiod (Heil PR48) hardly picks anything else, usually just some very subtle snare backbeat. I imagine an Omni is still going to get more, but I don't see a very practical reason why you would use an Omni to try and get an isolated signal in the first placeDPA Microphones claim to have achieved great results with their 4007 Omni microphone mounted through the reso port, slightly to the side. I can see experimenting with this in a treated room just tracking only the drums. I think it would pick up everything on stage in front of the drums.
Point noted. The dpa omni mic comment I made was in response to Larry's question using a ported head. Even though it wasn't technically a fully internalBut internally mounted isn't in front. My internally mounted cardiod (Heil PR48) hardly picks anything else, usually just some very subtle snare backbeat. I imagine an Omni is still going to get more, but I don't see a very practical reason why you would use an Omni to try and get an isolated signal in the first place