applications for realistic pzms

[bannerj]

I just got a pair of these. I was wondering if anybody has any favorite things that they use these for...any favorite materials to put them on etc...

I've had them side by side on a board for a couple days and like that a bit, but I want some other things to try out.

Has anybody gotten a good acoustic guitar sound? What do you use to position them near an acoustic?

[Reuben]

I used to like them as overheads, and also inside the kick drum can be fun.

And vocals. Nice on the right voice.

But that's about all I've ever liked them for.

[helstab]

mayor!

[Everybody's X]

I love putting a pair behind the drum kit about 5 feet behind the kit and 10 feet apart, panned hard and compressed (or not) to taste

[bobbydj]

mayor!

Right. Yeah, vocals and o/hs. For vox, pin it to a wooden door. Bion, I think it sounds better than a brick wall. But I dunno. Maybe I was imagining it.

[rodabod]

I made perspex (plexiglass) mounts for mine which have a mic clip style mount for putting on a stand.

The bass response is dependent on the size of the area the mic is mounted on.

I used one on acoustic once - fairly close. There is no proximity effect so you can do what you want with the mic with respect to close distances.

[fremitus]

yep. tape them to the glass in the drum room in front of the drummer, just below ride cymbal height. good times if you have some hard/soft gobos, put em on the hard sides of left and right with them set up in a semi circle infront of an acoustic guitar /-\ kindof thing. that can be cool too. 6 feet away or so. really live sounding and an approach that works well when the acoustic isn't the only thing going on in the mix.

[penrithmatt]

tape one to the drummers chest,or hang it around his neck.
tape them to the floor,either in front or behind the kit.


you can tape them to a piano lid if you need to keep the lid shut and the piano buried in blankets.......

[wayout]

I am a huge fan of these mics, but they are really noizy. Apparrently there is a fairly simple mod you can do to help lower the hiss. I havent done it yet.
Back in my fourtracking days I used them for everything! Drums / vox / room / bass. Its all in the placement as usual...
Lately, after micing up drums for the occasion, if I have a spare input channel I put one on the floor between the drum stool and the kick to pick up the beater side of the kick, and the snare bottom. I usually have to flip polarity, and dont use alot of it, but it has really helped with kick drum attack when necessary.
I learned this from the ever talented Chris Owens of Louisville, KY.

[wayout]

Oh!!!!
I found this compilation of articles online awhile back:
I didnt compile them, and I hope it is OK to post.
It is very informative on the subject of PZM's.

Have fun!

------------------------------------------------

Firstly, there are a few things you can do to improve the electronics
of the thing. Most of these electrical mods and circuits are equally
applicable to other, similar electret capsules such as those made by
Panasonic, though values of bias resistors etc may need to be altered.

Many people do not realise that the PZM as supplied by RS is actually
a balanced microphone. To convert it for connection to a balanced
mixer input is as simple as removing the moulded 1/4" plug, and
replacing it with a male XLR3. The shield goes to pin 1 of the XLR,
and the other two wires go to pins 2 & 3 - which is which doesn't
matter too much as long as you do them all the same if you are
converting more than one microphone.

The FET inside the capsule can be replaced with a quieter one, though
I have never managed to do this without destroying the capsule. This
is more due to my own heavy-handedness than anything else!

I'll attach a couple of articles detailing more extensive electrical
modifications to the end of this post.

Mechanical and acoustic modifications I have heard of include:

a) removing the bit of black fuzz from the front of the capsule.
b) enlarging the hole in the front of the capsule.
c) reinforcing/sealing the rear of the capsule with epoxy.
d) abandoning the metal plate (which rings horribly) in favour
of a 6" square of plexiglass (perspex for those in the UK!)

Since the capsules are so variable in their manufacture it is
difficult to tell ahead of time whether any of these mods will lead to
an improvement in the sound.

Mods a and b aim to modifiy the HF response - as supplied most of the
capsules have a pronounced presence peak, and a fairly nasty phase
contortion around 4-6kHz due to the small size of the hole. This is a
deliberate resonance introduced to extend the hf response as far as
possible towards 20kHz. The felt pad is there to tame this resonance a
bit. Mods a and b in combination are an attempt to smooth out the
treble response by removing this resonance, at the expense of not
reaching quite as high into the stratosphere.

Mod c attempts to damp the phenolic backplate (which otherwise bends
in the acoustic breeze (allegedly!)) and sealing the back more
effectively should, in theory at least, extend the LF response a bit.
Note that this will not help compensate for the lack of bass
encountered when the baffle size for the PZM is insufficient.

Mod d replaces a highly resonant piece of metal which rings like a
bell with a piece of plastic which doesn't. This seems like a good
idea to me, but whether its effect is significant I can't tell without
trying.

Now here are the articles I promissed. The first is by Phil
Rastoczny, and was first posted about ten years ago. It is a very
detailed description of some relatively simple modifications to
improve the electronics, while retaining the stand-alone battery-
powered portability of the microphones.

The second is by Christopher Hicks and shows how to use phantom power instead
of a battery to power electret capsules. Chris Christensen (regular
contributor to rec.audio.*) also has a very simple method of phantom-
powering the RS PZM with a minimal amount of work - unfortunately I
don't have a copy of this.

================ START RASTOCZNY ARTICLE =====================

RECORDING TIPS WITH THE PZM

About recording pianos, Crown recommends that you tape two of them
inside of the lid. I place the mikes in various positions depending
upon the room. When recording in a large hall, I place them on the floor
about five feet apart and 12' from the bend in the sound board (it's an
unconventional approach; I've never seen anyone else use it). When
recording in a small room, I tape them to the lid in various positions,
depending upon the type of piano.

Crown has several published tips on using the PZMs. If you can find a
dealer near you, they may have these articles in stock.

PZMs are wishful-sinful mics: they sound pretty good but they need to be
placed against a large surface to work properly. Sometimes this is just
not possible and you have to try other mics or go to extremes to find a
surface. And unfortunately, PZMs have a rising top octave response
But they are seldom seen by the audience!


CAVEATS:

All appropriate caveats about voiding warrantys and possible self-destruction
of equipment apply here. If you're careful, you'll get a nice piece of gear;
if you're not, you'll have a smouldering piece of junk.

I assume no responsibility for any results, good or bad. These mods assume
that you have some technical ability in that you know what you're doing when
modifying a circuit.

INTRODUCTION:

The RS PZM microphone is an omnidirectional electret microphone patterned
after a principle invented by Crown International called the pressure
zone microphone (hence, PZM). The output impedance of the stock microphone
is about 600 ohms (unbalanced) and it requires a phantom supply voltage
from -1.5V to -12V DC for operation. The stock microphone has a supply
module and built-in line-matching transformer to convert 600 ohms
unbalanced to about 10K ohms unbalanced. The problem with this stock PZM is
twofold:

1) you cannot use long cable runs on the mic since the line is
unbalanced.
2) the matching transformer used in the module is terrible.

So the mods outlined below address these two problems by describing a
method of using a standard balanced microphone cable in conjunction with
an unbalanced (single-ended) microphone input configuration common to
most consumer tape recorders. There are compromises made when using
this approach, but the benefits in the case of this PZM far outway the
compromises.

MODIFYING THE RADIO SHACK PZM MICROPHONE

The stock assembly consists of a mic, a coax cable, a supply module, a
twinax (2-wire shielded) cable and a 1/4" phono plug as shown next.

----- --------------
|mic|---coax cable-----|power supply|----twinax cable---1/4" phono plug
----- --------------

1. Cut off the 2-wire shielded cable between the 1/4" plug and the power
supply. Toss the phono plug.
2. Take the mic apart (screws on the bottom). Unsolder the coax cable
from the mic element and replace with the 2-wire cable from step #1
above. This is a somewhat static sensative device so work with a
grounded soldering station and appropriate clothing. Connect the
low side to the dark color wire and high side to the light color
wire. DO NOT CONNECT THE SHIELD TO THE LOW SIDE!
3. Connect the other end of the 2-wire cable to an in-line male XLR
connector. You should now have something that looks like this:

male XLR

mic n/c --------------------------------------- shield (pin 1)
electret high -------light wire---------------------- pin 2
element low -------dark wire----------------------- pin 3


4. Make some long mic cables from some twinax or 2-wire microphone cable.
I made three 75' and three 25' cables for my setup. Shields are
connected on each end to pin 1 and the case on one side (I think it's
the female side) as shown next.

female XLR male XLR

case------shield --------------------------------------- shield (pin 1)
high --------------------------------------- pin 2
low --------------------------------------- pin 3


The next step is to build an in-line supply that also adapts the XLR
connectors to the 1/4" phono mic input of most consumer tape recorders
as shown next. There should be one of these supply boxes built for each
mic used.

-----------------------
female XLR-------|supply/adapter module|-------------1/4" phono plug
-----------------------


5. Cut a 24" piece of 2-wire mic cable and connect an in-line female XLR to
it as you did in step 3 above.
6. Cut a 24" piece of coax and connect an in-line 1/4" male phono plug to
it.
7. Cut holes large enough in a small steel project box to run the cables
through. Add chaffing and strain relief to these two cables.
8. Connect the shields from the two cables AND the low side of the 2-wire
mic cable to the same point (single point) on the project box.
(If you prefer to use chassis mounted XLR and phono connectors, instulate
these connectors from chassis ground and wire the cases internally to this
same single-point ground.)
9. Connect the "+" side of a 9V transistor radio battery jack to this
single point ground.
10. Connect the "-" side of this battery jack to a 2.2K ohm 1/4 watt resistor.
11. Connect the other end of the resistor above to the high side of the
2-wire cable.
12. Connect a 10 uF mylar or metalized polypropylene capacitor from the
high side of the 2-wire mic cable to the center conductor of the coax
cable.

You should now have something that looks like this:

female
XLR 1/4" phono
plug

1 ---shield-----+---+---- single-point ground ---------------shield-----
3 ---low--------| | ------hot--------
2 ---high----- ----- "+" "-" --- 2.2K ohm ----- |
| 9 volt | |
| battery | |
+--------------------------------------- |
| |
--------------||---------------------------
10 uF
input
cap.

When the mics are not connected, there is no drain on the battery so there
is no need for a switch.

Close up the project box and plug in the microphones and the tape recorder.
I think you'll be surprised by the improvement in these otherwise inexpensive
and ho-hum mics.

ONE LAST THOUGHT

If you are *ABSOLUTELY POSITIVE* that the input stage of your tape recorder
or mixer has an input capacitor (of adequate voltage) and then a load
resistor, you can replace the 10 uF cap with a piece of wire. (See below.)

REPLACE THE INPUT STAGE CAP DO NOT REPLACE THE INPUT STAGE CAP
WITH WIRE IF THE TAPE DECK WITH WIRE IF THE TAPE DECK INPUT
INPUT LOOKS LIKE THIS: LOOKS LIKE LIKE THIS:

input input
mic stage cap mic stage cap
jack----||--------input stage jack----------||--------input stage
| |
load load
resistor resistor
| |
ground ground


If you decide not to or cannot replace the input stage cap with wire,
you should replace the input stage caps of the tape deck or mixer with
an equivalent value of equal or higher voltage mylar or metalized
polypropylene capacitor to obtain the best performance.


FOR BALANCED OPERATION:

It's possible to feed a balanced preamp with a similar configuration. However,
you'll want it to wire it up in the following way:


female Male
XLR XLR

1 ---shield-------------- grounded to case-------------------shield-----
3 ---low--------+--------------------------------------------low--------
2 ---high---- |-------- "+" "-" --- 2.2K ohm -----------high-------
| 9 volt | |
| battery | |
+--------------------------------------- |
| |
--------------||---------------------------
10 uF
input
cap.


VARIATIONS:

You can eliminate any or all of the XLR connectors if you wish to make
a custom length, dedicated mic setup. The reason that I suggest the
XLRs is that as soon as you get serious about recording, you instantly
find out that you need about 10' more of cable than what the custom
lengths are to do what you want. With the XLRs, you can add or remove
cable for each situation.

For permanent installations in a mixer or tape deck, you could build
a phantom supply similar to what is shown next.

---------- ----------- ----------
|12V c.t.| |full wave| |-12 volt| 2.2K 2.2K 2.2K
|xformer |--| Bridge |-----| reg. IC|-----\/\/-----\/\/-----\/\/----->-12V out
---------- ----------- | ---------- | | |
--- | --- --- ---
--- 220uF| --- 220uF--- 220uF--- 220uF
| | | | |
--------------------------------------------->gnd

You can gang the passive RC components together to run several channels from
the same bridge. You could also put all of this inside of a "Bud" box.
I recommend using all similar value components since parts are cheaper by
the dozen.

This concept provides more than adequate ripple rejection and if you want a bit
improved high frequency clarity, shunt all 220uF caps with 0.1uF polypro.

I've also done this for budget portable systems. I use one per channel:

2.2K 2.2K
9V battery--\/\/----------\/\/-----> -9V out
| | |
| --- ---
| 0.1 uF--- --- 220uF
| | |
-------------------------------> gnd

I drag a pair of these supplies with hard-wired 20' cables, a Sony
Walkman Pro, and a light weight pair of earphones out with me backpacking
and get some wonderful wildlife and wilderness recordings on batteries!

You can also replace the massive square metal plate with a piece of
plexiglass with tapered edges. The edges do influence the response of
the microphone, but in some situations, what you place the mics on or
near will equally degrade the response, so what the heck. My portable
rig uses the plexiglass plates; I usually pack in about 45 pounds worth
of stuff and shaving off every ounce that you can helps.



QUESTIONS FROM PREVIOUS POSTINGS

One person asked ``Why such a big capacitor?'' Well, it has to do
with the uncertainty of the input impedance of your tape recorder or
mixer. If you have a low input impedance (say 1,000 ohms or less)
you need this big of a capacitor to get the low frequency response
available with this microphone. If you have a high input impedance
(say 10,000 ohms or more), you can get away with a smaller capacitor.
If you use a lot of different tape recorders and mixers or if you
don't know what the input impedance will be, it's better to use the
big cap (and that's why I recommend it).

Some folks have asked why I don't shunt the mylar with a small exotic
cap. The answer is simple: the PZM has a rising top octave response.
The mylar tames a little of the peak; a shunt cap would only exagerate
it.



SOURCES OF CAPACITORS

Some sources for 10uF esoteric capacitors are:

Manufacturer Type Part Number L x W (mm) DCV

ChateauRoux m-pprop ? 64 x 22 ? 250
El. Concepts m-pprop 5MP12D106K 38 x 20 100
El. Concepts m-pprop 5MP12F106K 57 x 23 200
El. Concepts m-pprop 5MP12J106K 57 x 39 400
IAR "Wonder" m-pprop X series 10uF 57 x 29 310
Illinois m-pest 106MWR063K 32 x 14 63
Illinois m-pest 106MWR100K 32 x 19 100
Illinois m-pest 106MWR250K 44 x 20 250
Illinois m-pprop 106MPW160K ? 160
Illinois m-pprop 106MPW250K ? 250
Illinois m-pprop 106MPW630K ? 630
?(Meniscus) mylar ? ? 100
Panasonic m-pest E1106 31 x 16 100
Paxton mylar 8uF 38 x 19 ? 100
Seacor m-pprop PMWAF100KG ? 100
Seacor m-pprop PMWFF100KG ? 100
Sidereal m-pprop ? 49 x 19 100
Sidereal m-pprop ? 57 x 27 200
Sprague m-pprop 735P106X9100USL 38 x 23 100
Sprague m-pprop 735P106X9200WVL 57 x 26 200
Sprague m-pprop 735P106X9400ZVL 57 x 42 400


I haven't had time to research all of the sources. I'd appreciate it
if you could contact me if you have other sources to contribute or
corrections/updates to this list. Addresses and telephone numbers
for the above capacitors are:

* Digi-Key, 701 Brooks Ave S, PO Box 677, Thief River Falls, MN 56701
Panasonic
(800) 344-4539

* Electronic Concepts, PO Box 627, Eatontown, NJ 07724
(201) 542-7880

* Gateway Electronics, 5115 N. Federal Blvd., Denver, CO 80221
Paxton
(303) 458-5444

* Illinois Capacitor, 3757 W Touhy Ave., Lincolnwood, IL 60645
(312) 675-1760

* Meniscus Systems, 3275 Gladiola SW, Wyoming, MI 49509-3224
Mylar; best prices on ChateauxRoux
(606) 534-9121

* Seacor Inc., 123 Woodland Ave, PO Box 541, Westwood, NJ 07675
(201) 666-5600

* Sidereal Akustic, 1969 Outrigger Way, Oceanside, CA 92054
SiderealKap, ChateauxRoux
(619) 722-7707

* Sprague Electric Co. There's probably a sales office in or near your
town. Ask for Engineering Bulletins #2092 and #2752, and catalogs
#ASP-420K and #C-567A.

* TRT, Box 4271, Berkeley, CA 94704
IAR "Wonder Caps"
no telephone number published

================ END RASTOCZNY ARTICLE ==================

================ START HICKS ARTICLE ====================

HOW TO PHANTOM POWER A RADIO SHACK PZM, by Christopher Hicks.
======================================
(last modified 5th October, 1994)

Introduction
============

This article describes two ways of powering electret capsules (with
built-in FET), such as that used in the Radio Shack PZM, with phantom
power. The first method is the simpler; the second is more complex,
but provides a lower output impedance, thereby allowing longer lines
to be driven.

Both remove the horrible transformer, and both remove the equally
horrible electrolytic capacitor from the original RS circuit. Neither
is really a complete cookbook method, but both can be made to work
well with a little electronic skill.

Method 1
========

10u
+---------o-------------||------o----------------- HOT (2)
| | |
| |- |
| CAPSULE 22k
| |+ |
| | 10u |
| o-------------||------|------o---------- COLD (3)
2k2 | | |
| 2k2 | 22k
| | | |
| o--330R---o----o------o------+
| +| +| |+
| 10u 12V 10u
| -| -| |-
--o---------o---------o----o------------------------ GROUND (1)

Notes:
1) The component "12V" is a 12 Volt zener diode
2) The 10u capacitors in the HOT and COLD signal leads should be
high-quality plastic film types. The values of these may be
reduced to 2u2 if the preamp input impedance is 10k or greater.
3) The 10u capacitor in parallel with the zener should be a tantalum
type, and can have a 10n plastic film cap in parallel if you wish.
4) The cable to the capsule should be twin+shield. The shield should
be connected to ground near the zener diode, and left unconnected
at the capsule.
5) The polarity of the capsule is important. The + side is the one
connected to the casing. (Odd but true, at least in the case of
the RS PZM.)
6) The pinout given is the standard for XLR3 mic connectors.
7) If you want to use the existing RS box you will find that the 10u
capacitors do not fit. If you *must* then use electrolytics for
these (>50V working) and bypass them with 100n plastic film caps.

Method 2
========

+-----o---------------------330R--------+
| | |
| 2k2 +---10k----+ |
| | | | |
| | | E--o---|--------------- COLD
| o---------||----o--o-------B |
| | 1u0 | C |
| |+ +-100k-+ | |
| CAPSULE |---o------o
| |- +-100k-+ | |
| | | C |
|+ o---------||----o--o-------B |
10u | 1u0 | E--o---|--------------- HOT
|- | | | |
| | +---10k----+ |
| | o----+
| 2k2 +| |+
| | 12V 10u
| | -| |-
--o-----o---------------------------------o----o---------- GROUND

Notes:
1) Notes 1, 3, 4, 5, 6 from above apply here too.
2) Component EBC is a PNP bipolar transistor, eg BC479
Ideally these should be hand-picked for low noise and
matched gain. Bear in mind that VCE can be up to about 36V.
3) The 1u0 capacitors should be high quality plastic film types
4) This circuit will fit in the existing RS box, but a metal one
is recommended for the additional screening it affords.
5) The circuit may benefit from the addition of 22pF capacitors in
parallel with the two 100k resistors.
6) For minimum hum pickup the two 2k2 capsule bias resistors should
be accurately matched.

======================== END HICKS ARTICLE =====================

Jerry Bresee <jbresee@access2.digex.net> wrote:
>
>I'm working on a recording project now at a pretty good digital studio.
>The way the engineer miked my guitar really surprised me, but in thinking
>about in, it makes lots of sense. He used two pressure zone microphones
>(PZMs - you know, the kind you tape to the floor or wall to capture all
>the sound in a room), taped to either side two 1X10's which were screwed
>together to form a right angle. He sat me down in front of this
>structure, aimed the point of the wedge at about the sound hole of the
>guitar, and ran each mike into a seperate channel, panned full left and
>full right. It gave a GREAT sound, with a very realistic stereo image.
>Most importantly, he got every nuance of the guitar's tone on the
>recording. [snip]

Hi:

This is a follow-up to a post made recently by Jerry Bresee regarding
the use of Radio Shack PZM microphones. I sent him private email
asking for details on how to build the wood structure for moounting
the mikes. I won't have the block of free time to actually try this
until Christmas, but Jerry asked me to post the information he gsave
me. Here it is...

The microphones are from Radio Shack as cat # 33-1090B. They
are Crown microphones. The difference between these and the
ones Jerry used in a professional studio are that the higher priced
mikes use a 48 volt phantom power supply, while the Radio Shack
mikes use a 1.5v AA battery (with provision for slightly higher volts
for greater dynamic range). I bought two of these Radio Shack
mikes at approx $60 each. When I get the chance to build the
wood structure and try this, I will report on my results.

Anyway, here is the wood structure:

The two pieces of wood are 1x10 and approximately four feet long.
They are joined at right angles along the long side and stood up-
right on the floor. The apex (where they join) faces the guitar
player. One mike is taped to each piece of wood on the outside
at about soundhole height. The thing that Jerry said that made
immediate sense to me was: "I suppose you could get the same
effect by taping the mikes to the outside walls of your house on
either side of one of the corners and stand in your yard to record.
That should give you the general idea.

Looking down from the ceiling:

Guitar

/\
/ \
M / \ M
/ \

Looking from the side:

------------------
open side -> | | <--- apex
| |
| |
| | player sits
| | or stands
| | here
| |
| |
| |
-------------------------------------- floor

If anyone else is interested, let's share notes on this as
we pursue it. I think the idea has great potential for
inexpensive home recording with good results!

Tony

dalenet@aol.com (DALENET) wrote:

>Some time ago, Recording magazine had a piece on modifying the Radio Shack
>PZM microphones for better performance. The only part of it I've been able
>to learn so far was to run the mikes at 18 volts instead of 1.5V; this was
>to be accomplished by connecting two 9-volt radio batteries in series,
>then wiring the resulting 18 volts in place of the single 1.5V battery
>normally used. The idea was that this would raise the signal level well
>above the noise floor of the output signal, giving better signal-to-noise
>ratio ( hence more dynamic range ). Less hiss, in other words. Does anyone
>remember the rest of the story? Have a back issue index that goes back a
>few years?

According to the little booklet that came with the Radio Shack mikes,
you can run them at 3 volts. However, they say to remove these
higher voltage batteries after the session. The 1.5 volt battery can
be kept in the microphone between sessions. I would like to know
more about using the 18 volt supply.

>Also, a SAMS book on microphone techniques that I saw in a local
>electronics shop ( I didn't record the title) has a section on the PZM
>mikes and appropriate recording techniques. They advocated mounting the
>mikes on acrylic (Plexiglas) panels in the same arrangement you mentioned;
>the idea is that acrylic is acoustically deader than wood, helping to
>avoid introducing acoustic resonances of the mounting boards into the
>signal.

I just finished building the wood structure that Jerry described (see
my previous post on this subject in this newsgroup). I will be trying
it out this week and will report on the results to this group.

>And, sadly, I think the Radio Shack PZM's are now 50 or 60 US dollars
>each. Still a bargain, apparently.

Yes, these microphones are in the $50-60 range now. One thing about
Radio Shack: When they discover that they have something REALLY
good, they tend to discontinue it. I don't know why, but this has
been a pattern of theirs for years. I don't know that they are dis-
continuing the microphones, but you never know...

[bannerj]

thanks Wayout! I am going to look in to these mods.

[mfdu]

my PZM isn't an RS, and it takes 48v phantom.

when recording a full band live in my "live room" (aka the lounge room) i stick a PZM on the ceiling above the centre of the room to use it's semi-spherical pick-up.

compress the hell out of it through an 1176 or whatever.

this can come up great - sometimes i don't even need an overhead on the drums. may not even need a snare mic, but it's kind'a scary not having a snare mic, innit?

on the floorboards between cello and upright double bass, intended as a fill between the close mics on each, but ended up being the main sound with the close mics just adding a bit 'o bling.

inside the kik drum. whee hee! sometimes combined with a B52 on the outside skin.

foley - on the ground four metres behind the exhaust of a HOT V8. thump rumble and growl. mmmm.

taped to the underside of the kitchen table when you want to listen in on the conversation. oops - did i type that out loud?



chris.

[norton]

i stick mine on the glass door OUTSIDE the room where the drums are... and mix that in for a sort of glass plate reverb thing.

odd but pretty cool.

[mfdu]

nice

have to try that one

chris

[Slider]

under the snare and back a bit, so it's also picking up equal amounts of kick beater.
Then compressed pretty hard.
You'll get that Sgt. Pepper reprise sort of drum sound out of it.
That's my favorite use for the old RS PZM.