Kick drum Mic Techniques

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floid
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Post by floid » Mon Mar 26, 2007 3:11 pm

trodden: is there any specific logic on having one side of your corner absorptive and the other reflective? If so, how did you pick which side was which?
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trodden
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Post by trodden » Mon Mar 26, 2007 3:18 pm

jckinnick wrote:Anybody know what the Glynn Johns three mic technique was again?
ahahah its awesome seeing your post under my pictures of blackmetal/deathmetal drummers kit's with a billion mic's on them. Which i need to do with those styles of music... if i don't want them to use triggers...

Close mics to cut through the mix of 300 guitars, room mics for options when it comes to mix.

my brother in law and his band was recording a sweet C&C kit with a gefell mic (691/70? i don't know) in front of the kick and a AEA r88 for the overhead, going to a scully 1" 8 track. sounded so good.. they're playing alt/country/psychedelic/weird/rock and that mic set up worked great on those drums and that drummer.

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trodden
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Post by trodden » Mon Mar 26, 2007 3:23 pm

floid wrote:trodden: is there any specific logic on having one side of your corner absorptive and the other reflective? If so, how did you pick which side was which?
probably not.. that was my bed for a while. then i actually/finally bought a real bed (a full size!! with box springs!! for only $60 on craigslist!!) and needed to do some more treatment on that corner and hung it up there. Plan on covering it up with some of that black burlap so it matches the other treatment. I plan on doing some spaced rigid fibre glass mounted on the other wall.. not covering too much cause i don't want it tooooo "dead". The "cloud" of rigid fiberglass/rockwool above the drums did SIGNIFICANT changes in getting better drum sounds in a basement with 7.5 ft high ceilings.....


"why don't you have a real bed?" umm see that recording studio over there... who can afford a bed? here , have some more wine...

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floid
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Post by floid » Tue Mar 27, 2007 12:06 pm

heh, yeah i recently acquired a mattress for the first time in nearly three years - i was gonna hang it on the wall but figured i'd try a night of not sleeping on a concrete floor first, got hooked. what can i say, i'm going soft in my old age.
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trodden
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Post by trodden » Tue Mar 27, 2007 1:31 pm

floid wrote:heh, yeah i recently acquired a mattress for the first time in nearly three years - i was gonna hang it on the wall but figured i'd try a night of not sleeping on a concrete floor first, got hooked. what can i say, i'm going soft in my old age.
ahahha yeah.. i hear ya, didn't know 32 was going to hurt so much! gone are the days of drinking to 3 a.m. and making it into work at 8 the next day..

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Post by lastpicked4kickball » Tue Mar 27, 2007 3:57 pm

I wish I had known about the mattress shortage on this board. I could have hooked yall up cheap. A hotel by my house was bought out of business and they were throwing out entire bedroom sets.
I like the two mic approach, it sounds like it might be what I am looking for. So I give it shot, very nice.

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Post by Burning Ember » Wed Mar 28, 2007 12:25 pm

jckinnick wrote:Anybody know what the Glynn Johns three mic technique was again?
I know someone has already posted a link to this- but I wanted to add that I once saw Ethan Johns mic a kit/whole band and he used 4 mics total on the kit. I think they were all Nuemann and fairly distant (except for the snare?). He had one on the kick that had to be a couple feet away. Only one overhead, one for the snare and one on the low tom (maybe he used it for the ride/cymbals a bit... not sure). Close miking is great, and if you have two mics on the kick- one on the inside makes sense. But if you really want the beefy sound, from the little that I've done/seen you need something like a FET 47 not too close. There's a Jimmy Page quote in regards to miking that goes something like "distance is depth". I think that's a good concept to consider.

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Post by qball » Wed Mar 28, 2007 1:28 pm

jckinnick wrote:Anybody know what the Glynn Johns three mic technique was again?
There is a link out there about this technique. When you find it, this technique is amazing sounding for how simple it is. I taught a friend of mine this technique just 2 weeks ago and he's in love with it. The only variation of the technique that he and I use is to place a mic inside the kick. Most of the entire drum sound comes from the 3 mics in the Glyn Johns setup, but the kick mic allows for that extra bit of control. Except for the kick mic, the other 3 seldom need much more than a small tweak in the EQ.
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Danly
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pzm

Post by Danly » Wed Mar 28, 2007 4:39 pm

One technique I like is to use a pzm for the inside mic. Just lay it right on top of the blanket... put it through a graphic eq, and give it a disco curve.. basically, just cutting out the mids. I use that for clickyness. Combine with probably a LDC on the outside.

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