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Room Mics really close to the Floor

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Room Mics really close to the Floor

Postby flav on Thu Apr 05, 2018 10:14 pm

Hi guys, flat out here in Bristol,UK... I have a pretty big issue in terms of Room Mics, so I use my Room mics as my main sound for my recordings(sludge/chaotic stoner type a music), but my SABIAN CYMBLES are REALLY loud so I end up record them with EQ(low pass filter, getting rid pretty much everything after 7,5kh and pretty heavy compressed as well <----- all these on the way in

but even that when I am mixing up the rest of my mics those Room mics(even though I cut them off) come up :/

so how do I get a very very good room mics sound with as less as possible cymbals?

I use 7 mics

KICK
SNARE (BOTTOM/TOP)
OVERHEADS
ROOM MIC'S
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Re: Room Mics really close to the Floor

Postby max on Mon Apr 30, 2018 8:59 am

Some ideas:
1. If you want a very good room mic sound, you need a very good room. Diffusors and/or absorbers can help, but they will not turn a small practice space into a great live room. So don´t get your hopes up too high.
2. Hit the cymbals less hard or use different cymbals.
3. Do not aim the room mics straight at the cymbals.
3. Use microphones that are more forgiving in the top end. There are many pretty decent ribbon mics for relatively little money.
4. Use less compression on your room mics.
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Re: Room Mics really close to the Floor

Postby Bernardo on Tue May 15, 2018 10:28 pm

Work on the cymbals. There's a a number of things you can try, what I adopted as my main solution is to use a large piece of foam under the offending cymbals and then control the dampening with how tight I have the cymbals against it. I have a number of these pieces of foam ready to go in my place. Unfortunately unless you work on the source the rest is damage control, you'll hardly get spectacular results otherwise.
Heavy music is tricky to get sounding good, it's not often that I get away with a minimalistic approach, btw.
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Re: Room Mics really close to the Floor

Postby Facundo on Thu Jun 28, 2018 6:05 pm

I'd choose a dynamic mic with switchable PAD (and also low cut), I'm happy with EV RE320. Omni surface mic (SM90/SM91 by example) close to the KD or at the natural fall is OK but a PAD and to filter is needed if you need all the cymbals out, freqs are far so to filter is easy. At the fall of an acoustic guitar great in mid-low can add a bottom you don't get in front of or any upper position. JZ Vintage 11 microphone is good too if you need oversized response up to 200Hz.
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Re: Room Mics really close to the Floor

Postby Facundo on Thu Jun 28, 2018 6:17 pm

I like high SPL drums played and recorded with high SPL, I think vistalite is my fav, I see FM steve record that kits as the master he is in Bear Claw records by example... with limited knowledge and different acoustics, also limited tools or microphones it is difficult to achieve that sound, besides accepting that I am an amateur and not that excellence nowhere near. I agree with all the recommendations FM max has made, even telling the drummer to modulate his beats into the recording context (maybe this is the first and more practical possibility) and monitoring is the way to hear and he to know how is the kit being recorded. I'd start with a simple three mic Glyn Johns setup, add spare mics for each drum (this is only a a logical inheritance of those who come from live sound, but neither necessary nor essential, like the effects or eq needed on live sound) and try different options, keeping in mind the balance if in this case the cymbals are being played loud or have a loud response. Starting from less to me is simpler and better than putting a lot of mics and deciding which do not use. A simple setup is valid for most all situations specially If you don't want that 80s drum sound where even the noise gate is having a sound effect when it cuts and not only mute or silence when it closes. It depends on the stuff, the balance between elements of the kit and the ability of the drummer to hear SPL differences and accentuate, anyway In a context of the recording room: it's always better to start from a moderate beat with more dynamic as there are cosmetic tools to achieve the loudness of a strong beating or tin can dynamics or character it is needed or wanted by the band, the acoustics as says FM max is an important element for the drumkit, the high ceiling is something that makes the difference as well as a basic absorption (wooden frames with rock wool lined with sackcloth, diy models and recipes on the net, easy and painless), but it is also important the location of the kit within the possibilities of the recording room
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