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Good Tom/Cymbal mics?

#24
Hugh9191 said:
didn't you say in a previous thread that you don't actually put the faders for the drums up. If that is the case why are you thinking of getting new mics?
Click to expand...

I don't ever put the faders up when the drummers are pounding on the drums, but that's not always the case. And we've really been trying to get our drummers to play softer.

Also there's the issue with monitoring.
 
#26
Doctor Dirt said:
If your getting to much bleed than get a shure 58 type of mic and get it on a boom over the kit. Get the lows and low mids out with the highs at 12 straight up. If the cymbals are set up low this set up will work very nicely. I used it fior years in small to large rooms, at times adding another mic up top with a D112 in the kick and a 57 in between the snare and hat. If the cymbals are high you need to find the sweet spot as far as mic placement. This is a very simple set up but gets rid of the bleeding problem. Doc
Click to expand...

So reducing the number of mics helped with bleed? Interesting concept.
 
#27
Ok, lets start over.

To solve the bleed on the Tom mics... go with something hypercardioid for maximum side rejection. Most of the previous suggestions fit the bill. You don't know what you have so there is no sense in trying to fix it.

For overheads.... find the best condensers your budget will allow.

There are basically two schools of thought (both of which are showing up here) on micing drums, close and open.

if you choose close, get everything as close as you can to the object...overheads, HH, Toms.... everything.

if you choose open. Start with kick and snare and a few overheads (one might even do depending on the size) and see what it sounds like. This is my personal suggestion for worship, especially if you are in a loud room. It gives you some fundamentals in the sound system and not just bouncing around the room. You soundman can eq to the room and make the whold thing sound good.
 
#28
FullTime Tim said:
Ok, lets start over.

To solve the bleed on the Tom mics... go with something hypercardioid for maximum side rejection. Most of the previous suggestions fit the bill. You don't know what you have so there is no sense in trying to fix it.

For overheads.... find the best condensers your budget will allow.

There are basically two schools of thought (both of which are showing up here) on micing drums, close and open.

if you choose close, get everything as close as you can to the object...overheads, HH, Toms.... everything.

if you choose open. Start with kick and snare and a few overheads (one might even do depending on the size) and see what it sounds like. This is my personal suggestion for worship, especially if you are in a loud room. It gives you some fundamentals in the sound system and not just bouncing around the room. You soundman can eq to the room and make the whold thing sound good.
Click to expand...

Also, I don't know if I mentioned, but the drums are in a plexiglass cage.
 
#29
Yeah... everything sill applies. I know many of the companies that make the plexi enclosures say that a 4 mic setup is best. Clearsonic has some good information on their website on mic placement in a full enclosure. Also (and this is going to take off topic) but the more sound absorbing material you can get in an enclosure the better it is going to sound. Otherwise you have the reflections coming off all the plexi which cause may issues...none good.
 
#30
They're relatively pricey for drum mics for live sound, but the Beyerdynamic M201 are excellent, truly pro quality hypercardioids.

Audio Technica ATM63HE or ATM250 or 650 should also be good. I haven't used those but I have used the discontinued ATM29HE many times with good results.

If you haven't used hypercardioid mics before, bear in mind that while they have a tighter overall pattern, you don't want to point the back of the mic directly at a monitor or at anything you are trying to avoid in your signal, this pickup pattern does include a small area of sensitivity in a direct line from the back of the capsule. So for close micing a tom, orient the mic so that the front sees only that one tom, and the back is pointing up or down and isn't in a straight line with any cymbals or a snare or floor tom.
 
#31
FullTime Tim said:
^ ^ ^ That actually sounds like a really good setup. I forgot about the Rode mics... not as commonly known, but the few times I've demoed them they sounded great.

For the average setup for worship the above description is perfect.
Click to expand...

If you want to try the small condenser overheads set-up you could always pick up a couple of Behringer (yeah, I know) C-2 small condensers. They're the same pencil-condenser form-factor as the NT-5's and they're not terrible. The minimal expenditure of $75 or less per pair (includes clips, wind protectors, and stereo stand is worth it to research and know whether or not this set-up would work for you.

I like Rode a lot and use 2 NT1's (the older ones) and an M3 for my home studio. The Behringers are just a stoopid good bargain for what you get and you can always have them do duty later as back-ups or use 'em on the road later on.
 
#32
57 is a great mic but I'd go for Sennheiser e604 for the sake of convenience; you don't need mic stands so the drum kit will be much less cluttered. They won't disturb the drummer or cymbal placement (floor tom mic and ride cymbal often cause some trouble). Rode NT5 is a decent choice for overheads.
 

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