Tom mics
- Thread starter Bich
- Start date
Andy Sneap
Metal Guru
usually 421's or 57's, I've got a set of sm98s as well, which are good live. Keen to try new silver sennheisers (is it 609?)
Yes, silver 609... 57? Really? On major recordings? I would love to get 3 or 4 421s... but here in Brazil they are veery expensive. Do you soundreplace the toms on the mix?
I use 421s too, and back at school we used a really cool little mic, the EV ND408. Very cool for the higher toms. A Sennheiser 441 is a good choice too. But for rock and roll, you wouldn't believe how good a 57 can sound on everything. The Red Hot Chili Peppers' Blood Sugar Sex Magic was supposedly ALL 57s (even overheads), and has some seriously great drum sounds, despite my very low opinion of th music. One other mic that is an interesting choice is the Neumann KM184 for very close mic'ing. Other SD condensers work too. The idea is that on the hit, you overload the capsule for an instant. The drummer has to be very consistant with this though, so what I do is usually tigger (drumagog) a sample with the ideal capsule distortion, and mix it with the 421 signal, or just trigger it outright.
Also, I recently started doing my toms all in mono around a stereo OH. It just sounds rediculous for the drums to be going all over the place, esp in really fast stuff. I guess I'm subscribing to the school of thought that the drums have their own space, not each drum.
Also, I recently started doing my toms all in mono around a stereo OH. It just sounds rediculous for the drums to be going all over the place, esp in really fast stuff. I guess I'm subscribing to the school of thought that the drums have their own space, not each drum.
Andy Sneap
Metal Guru
Ive heard Brendon O Brian say he could do a whole album with 57's. Was he engineering on that RHCP's album?? He used to work with Rick Rubin alot in the earlier days... Anyway, I agree with him. Best mic you can buy if you're on a budget.
Kevin, what program are you running to use with Drumagog, I've been hearing about it but as far as I can tell it's only a direct x plug in (Nuendo, Cubase??).
I tend to do the trick with the ddrum trigger into the side chain of the gate, so I'm not cleaning tom tracks up and I have something better to trigger from rather than a bad tom sound if needs be. I just wish there was a good way you could trigger variable samples within Pro Tools so you don't get that machine gun type tom roll on faster stuff.
Kevin, what program are you running to use with Drumagog, I've been hearing about it but as far as I can tell it's only a direct x plug in (Nuendo, Cubase??).
I tend to do the trick with the ddrum trigger into the side chain of the gate, so I'm not cleaning tom tracks up and I have something better to trigger from rather than a bad tom sound if needs be. I just wish there was a good way you could trigger variable samples within Pro Tools so you don't get that machine gun type tom roll on faster stuff.
jeronimo, I went to a Community College in Michigan, USA. I didn't learn too much about recording, just about theory, acoustics and electronics. I learned about recording on my own, and from the guy I did my internship with, Glenn Brown. And now because of George Bush, I am a semi-out-of-work AE, who fixes computers on the side.
Yes, Mr. O'Brian did that one with Rick Ruben. http://www.allmusic.com/cg/amg.dll?p=amg&uid=CASS70307281251&sql=R110460#APPEAR
For Drumagog, I'm using Nuendo for most records, although I have used Sonar for some that have a shitload of scoring and other midi stuff. It really is a hell of a lot better than Soundreplacer in a lot of ways, but it doesn't match phase the way SR does. Well, like I said, I'm just mixing a sample with the original hit, and the sample is from the tom itself 90% of the time, so I get some good dynamics from the actual recording, and some good attack, and decent seperation with the mix. I haven't needed to gate my toms but for a few instances. With this mixing, I can get away with only using ONE tom sample (with exceptional attack). I use three samples at three levels usually though. This took a bit of experimenting to get right in the beginning, as to how dry (room) the toms need to be to work, but I found to my suprise that being quite dry gave me the best results. Its pretty different from what you are doing I am thinking, but thats what I do, when I need to do it.
I'll the guy I did my internship with what he does with SR. I don't think he works with drummers as fast as Dave Lombardo on a regular basis, and I think his answer will be something along the lines of only using SR for snare hits, and never at a 100% replacement.
Yes, Mr. O'Brian did that one with Rick Ruben. http://www.allmusic.com/cg/amg.dll?p=amg&uid=CASS70307281251&sql=R110460#APPEAR
For Drumagog, I'm using Nuendo for most records, although I have used Sonar for some that have a shitload of scoring and other midi stuff. It really is a hell of a lot better than Soundreplacer in a lot of ways, but it doesn't match phase the way SR does. Well, like I said, I'm just mixing a sample with the original hit, and the sample is from the tom itself 90% of the time, so I get some good dynamics from the actual recording, and some good attack, and decent seperation with the mix. I haven't needed to gate my toms but for a few instances. With this mixing, I can get away with only using ONE tom sample (with exceptional attack). I use three samples at three levels usually though. This took a bit of experimenting to get right in the beginning, as to how dry (room) the toms need to be to work, but I found to my suprise that being quite dry gave me the best results. Its pretty different from what you are doing I am thinking, but thats what I do, when I need to do it.
I'll the guy I did my internship with what he does with SR. I don't think he works with drummers as fast as Dave Lombardo on a regular basis, and I think his answer will be something along the lines of only using SR for snare hits, and never at a 100% replacement.
