Andy, I would check Craigslist regularly. I have seen a number of good drum mics on Craigslist recently. Also, I found my mics on eBay. Mine were just the cheaper CAD mics, but there are plenty of others as well.
Good luck!
Andy, I would check Craigslist regularly. I have seen a number of good drum mics on Craigslist recently. Also, I found my mics on eBay. Mine were just the cheaper CAD mics, but there are plenty of others as well.
Good luck!
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As stated by PB but also use Musicians Friend as a bench mark against the other two. this way you make sure you are not over paying. Knowing the new price when looking for used and or new not in a main store will save you dollars in the long run.
Andy, go to youtube and looker for "Recorderman Overhead Drum technique"
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what quality do you need. If its just for a demo. Buy a 58 and a stand. It would come in handy down the track.
If you want quality.... thats another matter. If it is quality. let us know whats on ya kit, and whats in ya band. and what gear you already have if any.
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There are plenty of inexpensive mic kits out there that will get the job done. Another option is to get a few good mics and work on placement.
If this is a short team record a demo type of thing you may be able to rent good mics for a few days as well.
make sure you have a good room to use when you get your mics setup, preferrably with walls of different angles and not parallel to each other if possible. take a tom and hit it while walking slowly around the room to find the sweet spot and set your drums up there.
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well, i have read in the tuning bible one good spot is in a corner diagonally facing away from the walls, this will let the sound waves fill the room evenly even in smaller environments like a bedroom. even if you have a room thats been soundproofed, this is still a good placement as it takes advantage of even a small room's acoustics. it helps to think of the noise that comes out of your drums as a kind of cone shaped representation on a map; and that cone has a certain size and reach of where its limits are right? but if your drums are in the middle of the room, than the cone has to stop itself when it hits the wall, just like if someone was trying to get out of a room with no door or window. but if you find the place that lets the cone's range and reach extend only to the room its currently in, the expression of sound eminating from the drumset will be ideal.
so basically, noise has a range it will travel, try and make it to where it will only travel within the confines of the room, to recieve the best results.
ps- my apologies if any of this data is incorrect, but ive tested it in my own home environment, and it produced the most faithful recordings as of yet. even without mics/mixer/etc, made a huge difference for me though
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what you are saying sound valid but I would think it has as much to do with reflections. with the drums located as you describe you should be able to minimize "slap-back" as nothing would hit a flat surface and cone straight back at the microphones.
well as far as what microphones to get, i would say to research the different designs of each type of microphone you'll use for each specific drum; perhaps one of the best explanations of mic designs, function, and their recommended uses is the microphone buying guide at MF, because it shows pictures and explains in depth how the different parts come together, what to get, and how to use it best.
as far as recommended mic set ups, and i dont mention recording equipment beyond what is here, because a friend once taught me how to use a digital camera to do the actual recording, so aside from that all you need is what's listed here, unless you prefer a different method-
theres 3 options that come to mind;
a) "the top level setup" if you have to have the best sound and have money to burn, you can get some pricey mics like sennheiser 421's for toms, e902 for kick, and e905 instrument mic for the snare, and a high quality mixer like a mackie or yamaha in the 1000+ range.
b) "mid level setup" if your on a modest but not quite tiny budget but you still want something that will get you into recording, look for a 7 piece audix fusion mic kit, paired with a peavey PV14 mixer.
c) "low level setup" if you are struggling and strapped for cash but need to get recordings for sure, a digital recorder such as a Zoom H2 positioned at knee height 4-6 ft away from you should be okay, not perfect, but better than a cell phone or a camera.
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depending on many different things, each placement will have a different effect, like i said earlier walk around with a tom and find the area it seems to react best in and set up there. as for resonance effectiveness, i never let my drums face a wall as the area of noise wont be utilized effectively. if you are in a 11x11 room for example, in the corner facing away from the corner would be what i would do. but again all rooms are differently built and the acoustics can vary so do a lot of research on effective sound-capturing techniques even before buying a single mic.
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I know you are on a budget so this may not apply but since were are learning from each other about capturing drum sounds I will throw this into the mix.
If you place your drums facing a wall and it it to close you will most likely get reflections regardless of the shape. If you have close micing on all the drums the odds are something will be able to catch those unwanted sounds.
Also the bass drum, the lower the frequency, the longer the sine wave
This means that the true, complete sound of your bass drums does not really happen until a few feet out in front of the kick. What a lot of engineers do is to build a tunnel. They use a moving blanket, a few cardboard boxes or whatever. Then they place a condenser mic normally at the end. This is mixed with the internal mic track and a lot of time a mic is placed behind the kick as well to capture the impact sound. these track then are mixed together to create the kick.
In addition a lot of times engineers will place room mics and mix those into the over sound, again you have to have the room out front.
I did not mean to intimidate you. you can achieve a very acceptable sound with minimal mics if you work on the placement of the kit and the mics.
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