The Logic Off Topic list

>I have no overhead.  I guessed you meant microphones above the drummer. ?? Am
>I right.

Yes thats what I mean.

The absolute most important mics you can put on the set would be the 
overheads.  Two mikes arranged as a stereo pair fairly high above the 
set.  Exact placement of these will be debated but few people would 
argue that they are not necessary.
I like to put them 2 or 3 feet above and a little in front of or a 
little behind the position of the drummer.  this of course assumes a 
high ceiling.  If the  the mics are too close to the ceiling you may 
get phase problems from the sound reflecting off the ceiling in which 
case you will need to lower them.

One thing you can do in cases where the ceiling is low is to use 
perimeter mics.  These are mics that are built on plates are designed 
to be put on a flat surface like a wall floor or ceiling.  You can 
get surprisingly passable ones at radio shack for about the price of 
a two year magazine subscription. ;-)

Also remember there is no law that says the overheads have to be a 
stereo pair.  I sometimes do the overhead in mono and if I am micing 
the snare separately I pan the snare a little to one side and the 
overhead a little to the other in the mix to get a bit of a stereo 
feeling in the drums.

When I mix drums I usually use as close to the overhead only sound as 
I can get.  One nice thing about it is that the mics are hearing just 
about the same thing the drummer is hearing and if he has a good 
sense of balance in the way he hits his drums you don't really have 
to mix the set because he basically will have done it for you as part 
of his performance.   The difficulty that you can run into is that 
the cymbals end up being a little loud in the overheads.

Since I get so much of them in the overheads anyway personally I 
never bother miking cymbals separately.

As may guess I always use the best mics I can get my hands on as the overheads.

I have read that Led Zepplin's Drummer John Bonham who is so famous 
for his great sound was often miked with only three mics.  The 
engineer was koy about the exact placement but listening I would 
guess there was just a pair overhead and one in front of the kick.

>kick drum - D112
>SNARE TOP      PL20
>SNARE BOTTOM D190

I am not familiar with any of these this mics but miking snare 
bottoms is usually more trouble than it's worth.


>HIHAT   U87 +48V
>LOW TOM   NT2      +48V

It is a characteristic of U87s that they distort slightly in the high 
end which is not really what you want on a high hat.  Also I have 
never in my life had a problem with not enough high hat when using 
the overheads as mains.  HiHats are tricky things to mic if you the 
get the mic in too close or too horizontal they can sound really 
chuffy and barky.  It may sound alarming but I generally end up not 
using hihat mics in the mix so I don't even give the hihat it's own 
mic these days.

So:

The U87 is a classic overhead mic. Maybe you could pair it up with 
the Rode NT2 which is intended as a copy of the U87 for the overheads 
and move the D190 (whatever that is) over to the low tom.  (since you 
won't be using the low tom much in the final mix anyway because the 
overheads sound so good.

>HIGH TOM   C3000 +48V

I love C3000s.  Large diaphram sound like a U87 only much more crisp. 
If you must put a large diaphram on the hihat this one will be a 
better bet than the U87.


>RIDE WITH POWER AMP - C28

?? I don't quite understand what this means.  Are you micing the rid 
cymbal.  If so Overheads will make this redundant.

Also I am being pretty free with opinions here but in truth I do not 
know what a C28 is.  Maker?

>bASS MIC   SOLID TUBE - POWER AMP
>bass DI  DI +48V
>PIANO L/H   D1 +48V
>PIANO R/H   D1 +48V
>SAX      SM58
>TROMBONE SM57

I see you don't have a matched pair of anything except the ones you 
are using on the piano.

Of course you do know you will be wanting to put the piano mics over 
the strings and not in front the keyboard, right?

Unless that is an acoustic bass (Is it??), I would give the sax the 
Solid tube and move the SM 58 in front of the Bass amp.

I am not familiar with the mics you have on the snare but maybe