I remember one drummer we had in the 90's that miked both mounted toms (1 mic), his floor tom, bass, snare/hi-hats, and had an overhead for his ride and crash cymbals. He brought his own 8 plug snake :) I had the same setup in my basement when I had a kit down there.
I've had similar experience but in a modern digital studio. One trick I've used is to soft gate the bass guitar track attack on the bass drum to tighten up the rhythm. Being both a drummer and bass player I understand just how closely knit the two need to be. I love to here a band where those two really click.
I've just got one of those Klark Technik SQ1 Dynamic 8 channel gate/compressors, I haven't had much time to play with it, but that`s one of the clever tricks that it`s ideal for.
Ron(UK)
If it`s rock n roll that`s the norm, but it`s not always necessary. Of course rock drummers like to see lots of mikes, doesn`t necessarily meant that they are all actually live.
Ron(UK)
My brother found two compressors he junked picked, asked if I could look at them. He said I could do what I wanted. After finding out they were vintage in high demand, I tuned them up and go tabout $1200 for them on Ebay. Just mono compressors that seemed to be liked for doing drums. That was fun. I split with my brother.
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Dontcha just love it when that happens
Ron
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I misinterpreted the wiring colours for replacing the jack plug on a set of stereo headphones one time. Try as an experiment, doing the same, reversing the polarity of one relative to the other, and then try locating a soloist in the sound "image".
-- Diverse Devices, Southampton, England electronic hints and repair briefs , schematics/manuals list on
I just watched a programme on TV about the Floyd, and Nick Mason made just that point about him and Waters.
Arfa
Ah yes, agreed. But that is when one channel is reversed with respect to the other, as has been raised repeatedly in this thread. Absolute polarity, of two correctly phased channels, has no such effect, one way, or the other.
Arfa
We use the same basic setup for recording with the addition or two high end AKG mike up at the ceiling of the studio. We mix a little of those in for a natural spatial enhancement to the overall stereo image. The ceiling in the studio is a cathedral style ceiling that's maybe 15 feet high. The control booth and vocal isolation booth are separate.
Right now we are using 4 Symetrix 525's. I really like those things and even have one myself. I used it in conjunction with my bass rig which was a separate Crown Microtech 1000, Gallien Kruger guitar preamp and the 525. Now, the rig is the same amp but with a BBE bass preamp that has built in comp/limit, BBE effect enhancement and an active crossover. I play into a
4x10 and when needed a 1x18 matched set of Fender cabinets.By the way this "we" I refer to is myself, my sister and brother in law who own a music store and recording studio. I own the building which is a store front that has 3 other businesses in it and my sister and her husband rent from me. (that is when they can afford to pay the rent) Pretty tough business this mom and pop music store is. I still do some repairs for them. Mostly guitar amps but I'm picky as to what I'll work on and that which I refuse they send out. They have a decent business but it's really hard to make money with all the chain stores around like Guitar Center and Sam Ash to mention a few. However it's good for me because I get calls from them when someone walks in off the street with a piece or equipment for sale. My basement is full of sound reinforcement gear, guitar amps, etc... :)
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In theory yes, but in practice, you'd need one hell of a system for that to make a difference; and it's not 100% clear that it's audibly different. Or that it's not.
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One thing is the lack of phase coherence between different drivers. Sure, the drum head moves as one unit, pushing a wavefront with a lot of frequencies, all lined up with their crests added. But by the time that gets parceled out through the crossover, the phases and delays between the drivers are all out of whack. One reason why fancier speakers are so often stepped, with the tweeters set way back from the fronts of the woofers, etc. So, if you've lost that punch of having all the crests of the waveforms of different frequencies aligned in one big tidal wave of air pressure and it's all smeared out in space/ time, you don't lose much by just flipping the polarity on the whole thing.
I wouldn't bet on that AT ALL ! I dount it's praticularly pistonic in action.
Graham
There used to be a slo mo video on the net of a bass drum being hit, you could see the ripples in the head as the impulse spread outwards from the impact point to the rim.
I wonder what the time delay is between the batter head moving and the front head following (or trying to follow)
Ron(UK
What's that supposed to mean?
I do have one hell of a system :)
Function like a piston meaning that the surface doesn't flex/distort. Cone loudspeakers are considered to have pistonic action at low frequencies for example. At higher frequencies they suffer cone break-up and are no longer pistonic.
Graham
I have, going back more years than I care to relate in a public place. :)
-- Dec. 6 (Bloomberg) -- Government officials and activists flying to Bali, Indonesia, for the United Nations meeting on climate change will cause as much pollution as 20,000 cars in a year.
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I did notice the other month, in a large London terminus railway station, that the pa system over hundreds? of speakers is much clearer than it used to be. I wonder what they've done - multiple staggered delays? so there is one coherent movement of sound along the major axis of the station?
-- Diverse Devices, Southampton, England electronic hints and repair briefs , schematics/manuals list on
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