Personally i think all NS-10s should have their speakers ripped out... then just left aloneMichu wrote:i'd try something like a speaker ripped outta NS10s or even a bass cab just for kicks
You already know that though Michu.Kick drum mic?
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Mr Arkadin
- Posts: 3283
- Joined: Thu May 24, 2001 4:00 pm
Did a beer garden gig a few months back with a drummer that used a yamaha sub kick on an otherwise un-mic'd kit. It was cool for getting a little woof in the sound, definitely.
You'd need to bung a 57 (or something) on the drum as well to get a rounded sound recording this way - these things grab the fundament <100hz only.
So for those just starting their microphone collection, like me, i'd recommend this llittle D6. A bit easier to use than an akg d112, and of course a different flavour. Plenty of spectrum to sculpt, though.
I haven't worked w/ a great kick drum artist in so long, I miss it.
I always get drummers w/ great chops and timing, but then their kick sounds suck as they are all chops.
The guys w/ the great sounding kicks are usually great at " Rock God " stuff but have trouble playing 7/8, 10/8 or anything other than 4/4.
My work around was to dedicate one of my MIDI channels in Gigastudio to triggering a Larry Seyer Kick drum sample, which are really awesome sounding, and bypassing the need to dedicate 40% of the PA's resources just to hear a kick drum that usually sounds like crap anyway.
But the D6 is a great mic. It doesn't tolerate SPL's as well as a D-112, but for mic'ing outside of the shell, a D-112 loses it's strengths IMO. The D-112's are great when the gate is activated, and SPL's are fierce. Hence the D6 on the head outsideof the shell is perfect.
I was spoiled by Kevin Sanders of Mama's Pride back in the late '70's. This guy was strong, and could play anything. His Toms sounded like glassy cannonfire, his snare's were as diverse as Buddy Rich, to Neil Pert, and his kicks could trigger seismographic sensors.
You never know how good you got it until it's gone.
I always get drummers w/ great chops and timing, but then their kick sounds suck as they are all chops.
The guys w/ the great sounding kicks are usually great at " Rock God " stuff but have trouble playing 7/8, 10/8 or anything other than 4/4.
My work around was to dedicate one of my MIDI channels in Gigastudio to triggering a Larry Seyer Kick drum sample, which are really awesome sounding, and bypassing the need to dedicate 40% of the PA's resources just to hear a kick drum that usually sounds like crap anyway.
But the D6 is a great mic. It doesn't tolerate SPL's as well as a D-112, but for mic'ing outside of the shell, a D-112 loses it's strengths IMO. The D-112's are great when the gate is activated, and SPL's are fierce. Hence the D6 on the head outsideof the shell is perfect.
I was spoiled by Kevin Sanders of Mama's Pride back in the late '70's. This guy was strong, and could play anything. His Toms sounded like glassy cannonfire, his snare's were as diverse as Buddy Rich, to Neil Pert, and his kicks could trigger seismographic sensors.
You never know how good you got it until it's gone.