Interesting... Thanks for the info.A bass drum like that one (looks like a Slingerland Radio King?) which normally sounds like a cannon played at half-speed will have CRAZY overtones and low-end when played with mallets like that. I can only imagine this mic was chosen to capture that sound... my choice for a set-up like that would have been the M380 or the 4033 but maybe they wanted to emphasis the bright attack of the staccato timpani mallets...I'd sure like to know what track this "scene" ended up on.Who was the engineer on this session?

I have seen people put CAD E100's in front of Kicks and on Floor toms quite often. I have used one for El Gtr and it was pretty good. I just saw they are going on Ebay for anywhre between 1-3 Hundo. Anyone played with these? I'm looking into a bulk/budget mic buy for some near-future recording.

really good deal on CAD m179:http://www.zenproaudio.com/cadm1793pack.aspx

Looks like they added cables to sweeten the deal...

Is anyone else here an advocate of not putting mics on the toms? I've gotten plenty of great tom sounds without even having mics on them. In most cases its the first thing I try, if you figure you have to place the overheads at some point you might as well try to get it to sound as good as it can sound before adding any more mics...I usually start with one mic and then add mics as I hear fit.-Barrett

Bguzaldo wrote:Is anyone else here an advocate of not putting mics on the toms? I've gotten plenty of great tom sounds without even having mics on them. In most cases its the first thing I try, if you figure you have to place the overheads at some point you might as well try to get it to sound as good as it can sound before adding any more mics...I usually start with one mic and then add mics as I hear fit.-BarrettAbsolutely... I always start with the Beyer m160 as my mono overhead and add mics from there. I generally styart with mics on the kick and snare because I almost always need to add them. But sure I've done recordings with no tom mics... And I often use only a m160 overhead and a kick mic... especially when doing 4-track recordings.But lately I'v been enjoying the CAD m179s on the toms set to "in-between" fig-8 and the next pattern (hyper-card?)... this seems to get a nice mix of the cymbals in the tom mics that I actually like and add some stereo imaging to the mix without needing a stereo pair.

b wrote:I have a pair of the m179s and a pair of the atm450s... I always prefer the m179 in hypercardiod with the pad engaged over the atm450s on toms. The m179s are a total steel for the price.what do you like the atm450 on then?

b wrote:I like them on drum overheads and as a spot mic on percussion. I want to try one with a m201 (capsules aligned) on snare but haven't gotten around to it... my gut feeling is it will be a kick ass combo.Hmm. I have the m201 as well. I REALLY like it on snare... not sure I would welcome the added brightness or more chance to pickup hi-hats...

Nice! I've wanted to get my hands on an m160 or two for quite sometime.

TheMilford wrote:A bass drum like that one (looks like a Slingerland Radio King?) which normally sounds like a cannon played at half-speed will have CRAZY overtones and low-end when played with mallets like that.This was Michael Dahlquist's bass drum.TheMilford wrote:I'd sure like to know what track this "scene" ended up on.The Man Who Lost His Wings. We put a track of pounding tribal drums on top at the beginning and middle of the jam. TheMilford wrote:Who was the engineer on this session?Steve.eliya wrote:Good looking man there.