"Iain M Churches" wrote in message
...

"Arny Krueger" wrote in message
...
"Dave Plowman (News)" wrote in message

They indeed are. Although I've never seen a valve U87. And mine
certainly aren't.

I don't think it's performance is much different to its valve predecessor,
(U67 wasn't it?)

As a rule, AES articles don't mention specific products.

I think the Royce Hall project of which I spoke has been written about
recently.


It is generally understood that a very large proportion (most???) of the
*professional* microphones in the world are either Shure SM57 and close
derivatives or EV 635 and close derivatives. Both are magnetic, entirely
passive and contain no active components such as tubes.

I like to use Beyers and Shures on drum kits, (because I can't stand the
thought
of a drummer thrashing a Neumann suspended above the top cymbals:-)
Otherwise I use condensers.

By the way. do you ever get to record live drums?. I have a feeling it
may be a dying art in studios. At the start of the digi era, we took to
recording
a full kit guide track (to a click) and then one drum at a time
:-((((((((( Deadly.
I do quite a lot of jazz, where the kit is alive and kicking:-)


Iain

I'd be interested in what Beyers & Shures you use on the drum kit. I do
sound for a regular gigging 10 piece band and use a condenser for high hat,
SM57's for snare and toms and Shure SM91 for kick. The band plans to record
soon & I'll be using my GL2200 board so would appreciate any tips you've
gained along the way.

Mike

In article ,
Iain M Churches wrote:
I like to use Beyers and Shures on drum kits, (because I can't stand the
thought of a drummer thrashing a Neumann suspended above the top
cymbals:-) Otherwise I use condensers.

By the way. do you ever get to record live drums?. I have a feeling it
may be a dying art in studios. At the start of the digi era, we took to
recording a full kit guide track (to a click) and then one drum at a
time
:-((((((((( Deadly.
I do quite a lot of jazz, where the kit is alive and kicking:-)

Yes. Miking up every single part of a kit for one pass is often the law of
diminishing returns. You'll usually nead 'gates on the toms, and I'm not a
great lover of those. Often the traditional tree mic setup will sound just
fine with a decent drummer and kit. Otherwise, it's lots of time and work.
;-)

--
*Men are from Earth, women are from Earth. Deal with it.

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Iain M Churches wrote:
I like to use Beyers and Shures on drum kits, (because I can't stand the
thought of a drummer thrashing a Neumann suspended above the top
cymbals:-) Otherwise I use condensers.

By the way. do you ever get to record live drums?. I have a feeling it
may be a dying art in studios. At the start of the digi era, we took to
recording a full kit guide track (to a click) and then one drum at a
time
:-((((((((( Deadly.
I do quite a lot of jazz, where the kit is alive and kicking:-)

Yes. Miking up every single part of a kit for one pass is often the law of
diminishing returns. You'll usually nead 'gates on the toms, and I'm not a
great lover of those. Often the traditional tree mic setup will sound just
fine with a decent drummer and kit. Otherwise, it's lots of time and work.
;-)

Thanks Iain, yes I've got the time and work bit (or trial & error in my
case) I'll borrow some kit to gate the toms just to see how I get on. I've
also has a suggestion on mic'ing up the snare is to put the same type of mic
also below the snare antiphase (I've got a phasechange button on each mixer
channel) Any comments on this?

I'd like to try the tree method also... By the way did you take any M50's
home with you as I'd love to try the Decca tree ;-)

--
*Men are from Earth, women are from Earth. Deal with it.

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Iain M Churches wrote:
I like to use Beyers and Shures on drum kits, (because I can't stand the
thought of a drummer thrashing a Neumann suspended above the top
cymbals:-) Otherwise I use condensers.

By the way. do you ever get to record live drums?.

Yes. Miking up every single part of a kit for one pass is often the law of
diminishing returns.
Agreed.

You'll usually nead 'gates on the toms, and I'm not a
great lover of those.

I used to use "Aphex" I could never get them to work as I wanted.
Very time consuming.

Do you double mic the snare? I often use one over and one under
(remember the phase switch:-)

Often the traditional tree mic setup will sound just
fine with a decent drummer and kit. Otherwise, it's lots of time and work.

I don't mind it being a lot of work. We get paid by the hour:-)
(or is it a flat rate for a project now in your neck of the woods?)

But a drum track has to live, sound natural. It is my belief that it
cannot be achieved with a click track and recording one drum at a time.

I try to avoid pop music. I am a little averse to musical bricklaying:-))
Life's too short. Though I do like to listen to the finished product.

Funny you use the word "tree" that's a Decca term (do a web search) for the
classical microphone set up devised by Roy Wallis and Arthur Wilkinson, back
in the days when the British Army had muskets, and Pontius was a pilot.

Cheers


Iain

On Wed, 27 Oct 2004 12:53:29 +0300, "Iain M Churches"
wrote:

That a very large percentage of microphones
used in digital recordings are valve microphones.

Of course I do. Not the majority, but certainly a goodly proportion of
the more carefully made recordings.

Oh dear :-((

Neumann 49, 50, 56, 64 and U87 are very
popular.

Indeed they are, and for good reason.

Don't believe me? of course you don't:-)

Why would I not?

BTW, my own personal favourite 'do it all' mic is the STC 4038, but
that wouldn't last long in the kind of close-miking hell that you
Decca guys started with 'Phase Four'! :-)

Check the AES Journal (of which I am sure you are
a member, as the A stands for Audio and the E for
Engineering)

Also read some of the excellent recent
articles in Studio Sound,
to which I am sure you subscribe.

I don't subsribe, but I read it from time to time. It's much more a
pro-audio magazine than of interest to the replay end of audio.
--

Stewart Pinkerton | Music is Art - Audio is Engineering