Anyone here ever use a LDC for kick
- Jeff White
- ghost haunting audio students
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AT4047 outside of the kick to taste. EV RE20 on the inside. My go to these days.
Jeff
Jeff
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- Brett Siler
- moves faders with mind
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Just last night I used a Shure Beta 52 inside the kick drum, reallly close the the batter head where the beater hits and a Dorsey Modded MXL 2001 about a foot out in front of the soundhole one the resonant drum head. Upon listen back I flipped the polarity of the MXL and and damn... That kick drum sound huge, beefy, yummy, really frickin good! I eq'd the Shure a little on the way in too (ya know the usual scoopin in the low mids and boosting a little in the higher mids and hi end). Attack and boom. Good stuff.A.David.MacKinnon wrote:Yes, yes , yes.
The MXL 2001 is a very good kick mic. That's almost all it's good for but it is good.
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- steve albini likes it
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- jessejamietig
- gimme a little kick & snare
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I like the FET47 on kick drum, about a foot in front of the resonant head.
I also like a technique where you use three cardioid mics (I really like LDC's here) as overheads. Two on left and right kit real close to the cymbals and toms and one center overhead much higher up. You gotta get the center farther away from the toms and cymbals by at least a 3:1 ratio to the close overheads distance to cymbals and toms to avoid phase issues.
I know it's not technically putting an LDC on the kick, but it gives you a really strong representation of the kick that I don't get with other overhead techniques.
I also like a technique where you use three cardioid mics (I really like LDC's here) as overheads. Two on left and right kit real close to the cymbals and toms and one center overhead much higher up. You gotta get the center farther away from the toms and cymbals by at least a 3:1 ratio to the close overheads distance to cymbals and toms to avoid phase issues.
I know it's not technically putting an LDC on the kick, but it gives you a really strong representation of the kick that I don't get with other overhead techniques.
-Chris D.
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Just to be clear, the 3:1 rule is for situations where you are recording two or more different instruments, each with their own mic, in the same space. It ensures that the sound of instrument A in mic A is louder than the bleed of instrument A into mic B by enough of a margin to eliminate noticeable interference when the two signals are mixed.You gotta get the center farther away from the toms and cymbals by at least a 3:1 ratio to the close overheads distance to cymbals and toms to avoid phase issues.
Mixing a bunch of different overheads is always going to cause phase issues. The only thing you can do is move them around until it sounds good.
I am aware of THE 3:1 rule.
This is not quite the same idea, but it does utilize a 3:1 ratio. It's a similar idea, in that it results in a nice phase coherent sound, but not the same cuz all the mics are recording the same instrument (or collection of instruments). I know this is a rather peculiar technique but I really like the way it sounds in certain situations.
This is not the same as using three overhead mics (L-C-R) roughly the same distance from the kit. You don't use close tom mics with this technique. the close overheads do the trick. The farther center overhead reinforces kick and snare and adds a little room sound. The 3:1 ratio makes this work. If you bring the center overhead in any closer it sounds completely different.
This is not quite the same idea, but it does utilize a 3:1 ratio. It's a similar idea, in that it results in a nice phase coherent sound, but not the same cuz all the mics are recording the same instrument (or collection of instruments). I know this is a rather peculiar technique but I really like the way it sounds in certain situations.
This is not the same as using three overhead mics (L-C-R) roughly the same distance from the kit. You don't use close tom mics with this technique. the close overheads do the trick. The farther center overhead reinforces kick and snare and adds a little room sound. The 3:1 ratio makes this work. If you bring the center overhead in any closer it sounds completely different.
-Chris D.
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