Kick drum Mic Techniques
- lastpicked4kickball
- alignin' 24-trk
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Kick drum Mic Techniques
Anyone have any strange ideas on how to get better tones out of my kick? I am using a D-112 in the port of the front head, I was using it on the back head at a 45 degree and about 4" from the beater. I am wondering if it may be a good idea to try to put a different mic inside the kick? Anything different really that could get me more attack out of the kick.
Just trying to get through life without looking stupid! Not workin' out so far for me...
- A.David.MacKinnon
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The d112 in the sound hole or near the beater should be giving you all the click you need. I wouldn't add more by putting another mic inside. Sounds to me like you need something to give you more low end boom.
Try putting something out in front of the front head. I like a ribbon mic about a foot and a half out from the front head mixed with something else inside or halfway into the hole (a d112 or 421 or even a 57). An LDC works nicely too.
You could also try the speaker as mic trick on the front skin.
Try putting something out in front of the front head. I like a ribbon mic about a foot and a half out from the front head mixed with something else inside or halfway into the hole (a d112 or 421 or even a 57). An LDC works nicely too.
You could also try the speaker as mic trick on the front skin.
When you mix, boost 80hZ, cut 300-450hZ, and give a mighty 1/2 octave boost around 2kHz. Sometimes I even give a 10k boost with a shelving EQ to taste. Gives me that boom bap with no mud. It's really an EQ thing, not a mic thing.
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- alignin' 24-trk
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I bought a $10 mic-holder retro-fit that lets you mount mics inside of drums, similiar to the MAY system.
In a recent session I took a Ludwig Birch kick drum with a Beta 52 ,mounted internally, facing the beater but slight off axis.
The resonant head was on the bass drum (intact/unported) and I put an AKG condenser mic on the outside slightly to the left about 10" away. Sounded amazing! The 52 made things punchy and articulate. The other mic was used just somewhat to blend things for a little more bottom end.
Hope this is useful.
In a recent session I took a Ludwig Birch kick drum with a Beta 52 ,mounted internally, facing the beater but slight off axis.
The resonant head was on the bass drum (intact/unported) and I put an AKG condenser mic on the outside slightly to the left about 10" away. Sounded amazing! The 52 made things punchy and articulate. The other mic was used just somewhat to blend things for a little more bottom end.
Hope this is useful.
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- zen recordist
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You haven't heard the drum, the track or the song. Hoe can you give such specific EQ points?rydberg wrote:When you mix, boost 80hZ, cut 300-450hZ, and give a mighty 1/2 octave boost around 2kHz. Sometimes I even give a 10k boost with a shelving EQ to taste. Gives me that boom bap with no mud. It's really an EQ thing, not a mic thing.
P.
- JohnDavisNYC
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Wow. I've never seen so many panties wadded up so quickly. So is talking about additive EQ verboten around here? It's just a suggestion, after all. And aren't suggestions for starting points from a wide range of experience and opinions what this board is all about? OR do I need to stick to the talking points: "Move the mic." "It all depends on (fill in the blank)." "Steve Albini doesn't do that."
And no, I haven't heard note one of this song. But how do we know it's a "song"? It could be a free jazz group this person is recording. Or maybe he's making a sample library.
Jeez. You guys are cranky. Whassa matter?
P.
And no, I haven't heard note one of this song. But how do we know it's a "song"? It could be a free jazz group this person is recording. Or maybe he's making a sample library.
Yes and no. I meant 1/4 octave in either direction, hence a 1/2 octave boost.mjau wrote:Does this mean to make the q affect the 1/2 octave in either direction around 2k, possibly?cgarges wrote:What is a 1/2 octave boost at around 2k?
Chris Garges
Charlotte, NC
Jeez. You guys are cranky. Whassa matter?
P.
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