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Post by drumrec on Nov 26, 2022 3:17:58 GMT -6
As Anders describes, I think it works well. I have a couple of Coles in the back of my kit. Now they are perhaps not as low as Anders described about Tretow. But sometimes it's nice to hit the cymbals a little harder when it's a punk/metal song (for the right feeling). But then you sit there and have to mix them and regret that the adrenaline pumped a little too much. Then I usually use Coles as OH in the picture. Doesn't have to be Coles but having them low in the back catching the whole set could be a way to make it work. Then there is one more thing that no one has mentioned that can be a good "savior" and I think works really well in the right doses. It's "Sooth2". KR H  |
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Post by sirthought on Nov 26, 2022 3:27:09 GMT -6
I was in a band with the loudest drummer ever for 10 years. We tried several things with good results and limited budget.
Oktava 012 has sort of become my go-to. And it does come with a pad that works for really loud stuff, but I have also just experimented with placement.
Note the Serrano 84/83 recently came out and there is a darker capsule in there. Might be worth trying.
I honestly like my ribbon Fatheads on overheads, but I like them better on cabs, so that tends to be their use. But the overheads sounded warm and still exciting. For such a cheap mic those are really useful.
Although my drummer was a basher and we never had a large studio room, I never purposely sought out a mic I thought was less harsh. I just tried to learn what I had access to. I've tried U87s, SM57s, 319s, etc.
And I've tried a few different approaches. Like the poster above, sometimes I go more for wider room snapshots. In this instance I will mic the cymbals even closer with an SDC. So those SDC are really for close cymbal capture, while the room mics are getting more ambiance and big picture kit tone. This allows for a lot of control of panning and getting your stick articulations at proper levels, while not losing that wider snapshot.
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Post by svart on Nov 26, 2022 9:26:53 GMT -6
I find that mic placement is much more critical to how the cymbals sound these days.
Close vs. far is usually the discussion, but for years I was pointing them at "the cymbals" which usually meant being centered over the bells of the cymbals.
I always felt they were brash or "spiky" sounding than others, but the mic choices never seemed to fully assuage the tone.
I came across a producer that swears by placing the mics so that they only point towards the edges of the cymbals and explains that it gets rid of the brash "spikiness".
I wasn't sure about it, but ever since trying it, I swear by it too.
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Post by recordingengineer on Nov 26, 2022 12:44:30 GMT -6
Yes, when it comes to spaced-pair OHs, I’m all about coming straight down and at the very edge of cymbals
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Post by drumsound on Nov 26, 2022 15:12:55 GMT -6
I find that mic placement is much more critical to how the cymbals sound these days. Close vs. far is usually the discussion, but for years I was pointing them at "the cymbals" which usually meant being centered over the bells of the cymbals. I always felt they were brash or "spiky" sounding than others, but the mic choices never seemed to fully assuage the tone. I came across a producer that swears by placing the mics so that they only point towards the edges of the cymbals and explains that it gets rid of the brash "spikiness". I wasn't sure about it, but ever since trying it, I swear by it too. Yes, when it comes to spaced-pair OHs, I’m all about coming straight down and at the very edge of cymbals Sometimes if I use a spaced pair, pointing down I go for completely off axis positioning. I position the mics so they are literally pointing straight to the floor. I usually drop a cable holding one end on the mic, making sure the other end drops straight, without hitting any of the drumset. |
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Post by Deleted on Nov 26, 2022 16:02:24 GMT -6
As Anders describes, I think it works well. I have a couple of Coles in the back of my kit. Now they are perhaps not as low as Anders described about Tretow. But sometimes it's nice to hit the cymbals a little harder when it's a punk/metal song (for the right feeling). But then you sit there and have to mix them and regret that the adrenaline pumped a little too much. Then I usually use Coles as OH in the picture. Doesn't have to be Coles but having them low in the back catching the whole set could be a way to make it work. Then there is one more thing that no one has mentioned that can be a good "savior" and I think works really well in the right doses. It's "Sooth2". KR H Is spiff as good as soothe too? |
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Post by Deleted on Nov 26, 2022 16:03:03 GMT -6
Also Tokyo Dawn De-Edger. It really kills the small icepick transients. Once you hear it, you'll never not use it.
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Post by damoongo on Nov 26, 2022 17:45:53 GMT -6
m160's and 4038's are great. But I feel that LDC in xy above the snare facing slightly forward and fairly high (18' ceiling here) can capture the explosiveness that ribbons just can't. (Sometimes they bash them for a reason...) 414eb brass ck12 can be insane.
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Post by drbill on Nov 26, 2022 20:16:22 GMT -6
m160's and 4038's are great. But I feel that LDC in xy above the snare facing slightly forward and fairly high (18' ceiling here) can capture the explosiveness that ribbons just can't. (Sometimes they bash them for a reason...) 414eb brass ck12 can be insane. They had better be for the absolutely insane pricing they are fetching these days..... Between $5,000 and $7,500. YIKES! I like the mic's, but man.... |
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Post by damoongo on Nov 26, 2022 21:24:15 GMT -6
m160's and 4038's are great. But I feel that LDC in xy above the snare facing slightly forward and fairly high (18' ceiling here) can capture the explosiveness that ribbons just can't. (Sometimes they bash them for a reason...) 414eb brass ck12 can be insane. They had better be for the absolutely insane pricing they are fetching these days..... Between $5,000 and $7,500. YIKES! I like the mic's, but man.... Really? Wow. I hadn't checked for a while. I've always called them my "poor man's C24", but I guess I'm gonna have to come up with a new name... |
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Post by drumrec on Nov 28, 2022 8:55:57 GMT -6
As Anders describes, I think it works well. I have a couple of Coles in the back of my kit. Now they are perhaps not as low as Anders described about Tretow. But sometimes it's nice to hit the cymbals a little harder when it's a punk/metal song (for the right feeling). But then you sit there and have to mix them and regret that the adrenaline pumped a little too much. Then I usually use Coles as OH in the picture. Doesn't have to be Coles but having them low in the back catching the whole set could be a way to make it work. Then there is one more thing that no one has mentioned that can be a good "savior" and I think works really well in the right doses. It's "Sooth2". KR H Is spiff as good as soothe too? Hi Dan! I actually have no idea about that plug "spiff". Had to watch some YT clips and it seems to be really good for what it does. Maybe I'll catch a black friday deal. Will check out Tokyo Dawn De-Edger as well, thanks 4 heads up  |
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