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One of the worst things I've heard

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Posted on August 22, 2015 at 08:43:41
Awe-d-o-file
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Posts: 21037
Location: 50 miles west of DC
Joined: January 10, 2004
was an otherwise great recording with great music. The fatal error was the snare drum was recorded stereo; a mic on each side of it. Just horrible. Another instance of where stereo can go wrong. Anyone heard such a recording? I have the CD but can't find it or remember who it is, sorry,getting old, but I always meant to post this.



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"If at first you don't succeed, keep on sucking till you do suck seed" - Curly Howard 1936

 

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How about drumsets that are panned across the entire sound stage-, posted on August 23, 2015 at 09:28:03
oldmkvi
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Posts: 10574
Joined: April 12, 2002
Only large octopus or smaller sqid could do that!

 

RE: How about drumsets that are panned across the entire sound stage-, posted on August 23, 2015 at 12:45:24
zako
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Posts: 935
Location: Mo.
Joined: March 29, 2004
Heard one with 14 mics on a drumkit.. And they called it stereo..

 

RE: How about drumsets that are panned across the entire sound stage-, posted on August 24, 2015 at 13:27:51
Awe-d-o-file
Dealer

Posts: 21037
Location: 50 miles west of DC
Joined: January 10, 2004
Yes I don't care for that either. Who was that cartoon character with the arms that stretched? Was it Stretch? Anyway I agree.


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ET

"If at first you don't succeed, keep on sucking till you do suck seed" - Curly Howard 1936

 

RE: How about drumsets that are panned across the entire sound stage-, posted on August 24, 2015 at 13:29:41
Awe-d-o-file
Dealer

Posts: 21037
Location: 50 miles west of DC
Joined: January 10, 2004
There's not much wrong with using one mic on each drum kit item if you will. The issue is where does the engineer put the pan pot on stereo board for each.


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ET

"If at first you don't succeed, keep on sucking till you do suck seed" - Curly Howard 1936

 

micing drums, posted on August 24, 2015 at 18:28:51
Bill Way
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Posts: 1884
Location: Toms River NJ
Joined: May 28, 2012
Contributor
  Since:
December 14, 2012
The most most normalish drum kit micing I see in a studio live room for rock bands is:

Snare top - Shure SM57
Snare bot - Senn 441
Hat - Beyer M160 ribbon
Kick in - Senn 602
Kick out - Neumann U47 FET
Rack tom - Senn 421
Floor tom - Senn 421
overheads - vintage AKG 414's about 4-6 feet above the kit

Overheads are panned hard L&R. Kick in vs. out balanced once and left pretty much dead center. Snare top/bottom balanced once and panned slightly right, hat panned a little more right, with the toms slightly left. Sometimes a mic on the crash cymbal panned slightly left. Most engineers set the drum mix to replicate what you hear when facing the drummer (crash on the left, toms/kick center, then snare, then hat to the right.)

For jazz, it's often snare top, kick out, and overheads. If there's lots of delicate brush work, then maybe a 57 on the snare top.

I used to be a minimalist-mics-only person, but I've since heard too many great recordings that take the multi-mic approach, so now I judge the results, and learn from the methodology. Also bear in mind that I'm talking about live room tracking only; live rooms range from neutral to dead. If you're in Carnegie Hall or the chapel Doug Sax used for the Harry James work, it's another game altogether. (BTW, has anyone figured out what the mic was over Les DeMerle's kit in those Sheffields?)

Results count, and technique teaches.

WW
"Put on your high heeled sneakers. Baby, we''re goin'' out tonight.

 

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