The Logic Off Topic list

Hi All

Wonder if some of you clever fella's can help. When miking a drum kit(I'm
pretty new at this Live Drum stuff BTW), I 've got a good Bass drum sound
using an AKG D112 a Shure Beta 56a on the snare and Audix Tom mikes and
overheads, no problems with any of these , however I have a Shure 16A
condenser on the hihat and can't keep the rest of the kit out of it no
matter what gating I do, it was suggested to me as a good mike for the hihat
but I'm not sure, the sound is nice but,, spill overkill,,, any suggestions
out there on isolating the hat at least to an acceptable degree.

Cheers

Dave Abbott
DaStudio
Johannesburg
South Africa

On 13.12.2005, at 14:49, Dave Abbott wrote:

> I have a Shure 16A
> condenser on the hihat and can't keep the rest of the kit out of it no
> matter what gating I do

I have no experience with miking drumsets but... (well, I could stop  
at this point right now, eh? :-)

...according the the description the 16A is a cardioid. If you cannot  
gate it with the other mics, even if the drummer does not play kick,  
snare and hihat at once - does it probably aim to the kit or is it  
too far away from the hihat? Should be rather close and aiming to the  
outside if possible. That can be a problem with a furious drummer  
though...

___
Peter Ostry



[Non-text portions of this message have been removed]

]--- In logic-ot@yahoogroups.com, "Dave Abbott" <cricket@i...> wrote:
>
> Hi All
> 
> Wonder if some of you clever fella's can help. When miking a drum 
kit(I'm
> pretty new at this Live Drum stuff BTW), I 've got a good Bass drum 
sound
> using an AKG D112 a Shure Beta 56a on the snare and Audix Tom mikes 
and
> overheads, no problems with any of these , however I have a Shure 
16A
> condenser on the hihat and can't keep the rest of the kit out of it 
no
> matter what gating I do, it was suggested to me as a good mike for 
the hihat
> but I'm not sure, the sound is nice but,, spill overkill,,, any 
suggestions
> out there on isolating the hat at least to an acceptable degree.


the most common approach to the hihat is underneath it, there's 
really no way to totally isolate the sound, but keeping it close to 
the bottom hat should do pretty well.

Hi men,
There\ufffds no easy way to get what you want, and miking
from the underneath usually gives you a muddy sound
with no stick definition.

I usually do this: I point the mic at about 30-45
dgrees with the upper hat BUT LOOKING AT THE OUTSIDE
OF THE KIT  ( This means miking the furthest edge of
the HH ). It works well with AKG 451 and better with a
414 on hyper cardioid. Solo the track and check for
snare leakage. that\ufffds all you should be worried about.
This way the snare is on the dead spot of the cardioid
pattern so it\ufffds quite attenuated.

Try to get a compensated HH sound out of your
overheads by placing these mics carefully.90 % of your
close hh sound \ufffdll come from here and 125% of your
open HH as well !

Then filter your HH track with a low cut ( aka hi pass
filter ) and get rid of everything else. EQ for
silkness and stick definition.

Blend to taste and you\ufffdre done.

Also I recommend checking for hh leakage on the snr
mic, mostly when using condensers. Too much HH on the
snr mic will complicate things when tryin to add
brightness to the snr.

Pedro Rodriguez / Wonderland Audio Spain


		
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Message posted by Pedro Rodriguez <wonderlandaudio@...>
______________________________________________________________________

Hi men,
There\ufffds no easy way to get what you want, and miking from the underneath usually gives you a muddy sound with no stick definition.

I usually do this: I point the mic at about 30-45 dgrees with the upper hat BUT LOOKING AT THE OUTSIDE OF THE KIT  ( This means miking the furthest edge of the HH ). It works well with AKG 451 and better with a 414 on hyper cardioid. Solo the track and check for snare leakage. that\ufffds all you should be worried about. This way the snare is on the dead spot of the cardioid pattern so it\ufffds quite attenuated.

Try to get a compensated HH sound out of your overheads by placing these mics carefully.90 % of your close hh sound \ufffdll come from here and 125% of your open HH as well !

Then filter your HH track with a low cut ( aka hi pass filter ) and get rid of everything else. EQ for silkness and stick definition.

Blend to taste and you\ufffdre done.

Also I recommend checking for hh leakage on the snr mic, mostly when using condensers. Too much HH on the snr mic will complicate things when tryin to add brightness to the snr.

Pedro Rodriguez / Wonderland Audio Spain

I agree with these suggestions. A good portion of the hi-hat sound is 
the stick definition, which would be mostly lost by miking underneath. 
It could be that the Shure mic you're using just has lousy rear 
rejection, so trying a different mic may solve much of your problem. 
414's and 451's have excellent rejection, as do small Neumanns like 
KM184's---which have the added benefit of a very smooth off-axis 
response. 

Recently I've been trying a suggestion from an interview I read, and 
miking the hat about four inches past the edge, pointing slightly away 
from the kit and essentially at the floor, and I've never gotten a 
more silky, sizzly sound. (be sure to keep the capsule above the plane 
of the cymbals to avoid air puffs) Great for fusion/jazz, at least.