Turtlerock Forum

The Tasmanian wrote:Well - seeing as Paul threw in the Ass mic - I must confess to using a kock mic a fair bit.
414 just above the kick rim facing the drummers family jewels - whack it through a nice compressor and its a great vibe to blend in to the mix.
It gets a nice bit of the wood of the kick, and the shell of the snare.

Does it get a nice bit of wood anywhere else?
Sorry it was too tempting.

Try this technique and you may get a woody.....

Arse and Kock can be friends.
Arse also captures the flatulence coming from the floor and rack well.

The Tasmanian wrote:Try this technique and you may get a woody.....

Was gonna say, are you sure the wood sound was actually from the shells or............

Ben M wrote:

Paul Maybury wrote: Ooh, almost forgot the "Arse Mic" under the drummers stool.
Paul Maybury

mmm nice arse................mic.

heathen wrote:I heard also from quite a famous drummer that in some sessions other drums placed near (such as a kick drum) the kit will be miced too, for blending extra ring from the shells, I'm usually trying to get rid of ringing but...... may work for some things

No rules...but, this can be done with more precision after the tracking with reamping if desired. I seem to be always asking the drummer to put all extra drums and hardware outside the tracking room to make sure these don't get in the way on the room/drum sound.

Same here, nothing worse than something rattling along with the drummer, unless it's a super cool rattle.

resurrection of thread...

Since I just got a new (custom made) rosewood stave kit - am experimenting with my (limited) mic collection to capture the (awesomely good!) sound:

..... with a closeup version of a Decca Tree array....

The L/R mics (Rode NT1s/condensor/cardioid)
- sound a little sterile so I'm using a pair of ART MP V3 tube pres as inserts to add a little warmth
- these are quite nice for the price btw

The centre mic is an NT2a (set to Omni)
- and is clear but also a little sterile sounding..... and I've run out of external pres.....

SM57 on BD1 (yuk) and D111 on snare vent (not bad) and the mic cupboard is now bare....... one day I'll have some KM84s, M88s, RE20s, MD441s to do justice to this kit

Drumstruck wrote:....... one day I'll have some KM84s, M88s, RE20s, MD441s to do justice to this kit ....

And that day is a little closer - after an assault on the microphone world I have a new setup:

RE320s - BD front
(Heil) PR40s - Snare and HH top
SM57s - Snare and HH bottom
MD441s - overheads AB
M5 (ART Ribbons) - overheads M/S

not a condensor to be seen.......

Got a really good sound last night in a less than desirable room with this setup:

Kick out: 414
Kick In: Audix D6
Snare top: 57
Hats: m201
toms: 57's (floor tom was mic'd underneath)
Glyn johns oh's: 414's
AB oh's: 4033's
mono oh: Beesneez Arabella GT
Rooms: 451's 1cm away from bare wall either side of the kit
trash room: Old telephone in front of the kit smashed through 1176.

Glyn Johns gives nice width, mono gives a nice centre and snare tone, ab's focus centre even more while adding to the overall width, Room mics give a liveliness that is good to my ears, trash mic gives a bit of character.
I've stopped mic ing the snare bottom as i hardly ever use it in the mix and the addition of all those OH's and rooms give the snare a cracking punch.