Anyone here ever use a LDC for kick

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Jeff White
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Post by Jeff White » Fri Aug 20, 2010 11:55 am

AT4047 outside of the kick to taste. EV RE20 on the inside. My go to these days.

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Post by ott0bot » Fri Aug 20, 2010 2:50 pm

ipressrecord wrote:AT4047 outside of the kick to taste. EV RE20 on the inside. My go to these days.

Jeff
They sound pretty great together. The re20 has that nice airy vibe, and the 4047 adds the low end thwack. Not even a whole lof of eq required last time I tried that combo.

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Post by Brett Siler » Fri Aug 20, 2010 7:04 pm

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.
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.

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Post by drumsound » Sat Aug 21, 2010 12:39 am

I've done a lot of records with a 4047 as the outside BD mic, mixed with an inside mic. I'm pretty sure I've tried 4050 and U87 out there too.

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Post by E.Bennett » Sat Aug 21, 2010 6:23 am

senn 421 inside, blue mouse outside

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Post by digdoug » Sat Aug 21, 2010 7:10 am

I used a modded Studio Projects B1 about 16" outside the kick. We built a tent shelter of heavy blankets from the kick to past the mic to nearly eliminate cymbal bleed. Something like what I saw J Robbins do on a big kick during a session. Worked pretty well.

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Post by pulse_divider » Sat Aug 21, 2010 10:18 am

Blue Mouse all the time

setup depends on the kick drum but usually on the outside in conjunction with a dynamic on the beater

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Post by junomat » Sat Aug 21, 2010 11:55 am

I use a U87 about 3' from the resonant head a few inches off the floor on pretty much every record I record that has drums.

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Post by vvv » Sat Aug 21, 2010 6:04 pm

I ended up with a MXL 1006 3' in front of the kick; it kinda worked like a room mic, but did allow me to beef it up.

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Post by cjogo » Mon Aug 30, 2010 9:57 am

AKG d3600 --- depends on the drum and the player > where I place it....but, my first choice.
whatever happened to ~ just push record......

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Post by drumsound » Fri Sep 03, 2010 11:33 am

cjogo wrote:AKG d3600 --- depends on the drum and the player > where I place it....but, my first choice.
Doesn't a d in from of the number on AKG mics mean dynamic? i.e d12.

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jessejamietig
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Post by jessejamietig » Fri Sep 03, 2010 5:15 pm

I've used an Oktava 319 outside the kick with great results. Usually I like to blend it with the Shure Beta 52A. It makes for a great kick sound.

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decocco
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Post by decocco » Sat Sep 04, 2010 1:10 pm

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.
-Chris D.

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Post by Galen Ulrich Elfert » Sat Sep 04, 2010 1:57 pm

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.
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.
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.

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Post by decocco » Sat Sep 04, 2010 3:38 pm

I am aware of THE 3:1 rule. :wink:

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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