snare sound
Posted: Thu Nov 03, 2005 4:42 am
QUOTEPutting microphones near (reflective) walls or corners is a way to almost guarantee that you will have phase problems, isn't it?UNQUOTE
If you put them near the wall, yeah, you get a lot phase cancelation. But if the mic is against the wall, it's a different story. You have the smallest amount of reflections and when blended in with the close mics it gives you a useful room sound. Near the floor I find more bottom end and (usually less cymbals)
Check this out. A great explanation...
http://www.electrical.com/phpBB2/viewto ... hlight=pzm
The first thing I noticed is the HUGE difference that makes a good drummer.
Yeah. Good players make me feel like I'm a decent recording engineer! (maybe there should be a smiley here...)
QUOTEI put a MS pair in fron of the kit and it helped the stereo image and blend the kit toghether.UNQUOTE
MS is my favourite sounding stereo micing technique! For room mics I find it useful to to have quite a lot of the s component so the room tracks sound less "focused".
QUOTEfortunately, I am not recording in PT. It's a SSL 4000G+! (SAE Madrid). The recorder is a digital Mackie, though... (tipical courtesy of SAE, too...)UNQUOTE
Then you shouldn't have much problem checking the phase of your tracks... As I said I sometimes really struggle deiciding on the correct polarity setting for my snare tracks. I sometimes ask the drummer to "release the snare" (well, you know what I mean....) and hit the snare in the middle of the skin for a while... That usually helps.
Looking forward to those pictures!
In the meantime... Enjoy these. Good examples of mics on surfaces.
http://www.electrical.com/phpBB2/viewto ... t=triangle
http://www.geocities.com/brikelly/donca ... _pics.html
mmmmmmm... Altecs...
P.S: I can't get the quote function to work!!! (I feel like an idiot. for some reason the quote keeps apearing at the end of the text...)
If you put them near the wall, yeah, you get a lot phase cancelation. But if the mic is against the wall, it's a different story. You have the smallest amount of reflections and when blended in with the close mics it gives you a useful room sound. Near the floor I find more bottom end and (usually less cymbals)
Check this out. A great explanation...
http://www.electrical.com/phpBB2/viewto ... hlight=pzm
The first thing I noticed is the HUGE difference that makes a good drummer.
Yeah. Good players make me feel like I'm a decent recording engineer! (maybe there should be a smiley here...)
QUOTEI put a MS pair in fron of the kit and it helped the stereo image and blend the kit toghether.UNQUOTE
MS is my favourite sounding stereo micing technique! For room mics I find it useful to to have quite a lot of the s component so the room tracks sound less "focused".
QUOTEfortunately, I am not recording in PT. It's a SSL 4000G+! (SAE Madrid). The recorder is a digital Mackie, though... (tipical courtesy of SAE, too...)UNQUOTE
Then you shouldn't have much problem checking the phase of your tracks... As I said I sometimes really struggle deiciding on the correct polarity setting for my snare tracks. I sometimes ask the drummer to "release the snare" (well, you know what I mean....) and hit the snare in the middle of the skin for a while... That usually helps.
Looking forward to those pictures!
In the meantime... Enjoy these. Good examples of mics on surfaces.
http://www.electrical.com/phpBB2/viewto ... t=triangle
http://www.geocities.com/brikelly/donca ... _pics.html
mmmmmmm... Altecs...
P.S: I can't get the quote function to work!!! (I feel like an idiot. for some reason the quote keeps apearing at the end of the text...)