Bill_Urick wrote on Sat, 17 April 2010 20:05 |
Just wondering, what mics are you using on the snare? |
Bill_Urick wrote on Sat, 17 April 2010 22:55 |
Can you get an AKG-451 or other good SDC to try? I always use a 57 strapped to a 451 for the top snare mic. It's also common to use an SDC alone for snare. Mmmm, I just found this thread: http://recforums.prosoundweb.com/index.php/mv/msg/30505/0/0/ 8119/ So my suggestion is redundant. A 451 is a very useful mic and still not terribly expensive, perhaps you could get one to try? |
jimmyjazz wrote on Fri, 30 April 2010 00:09 |
The idea that you can't have too much bass trapping is usually true from the perspective of evening out low frequency response, but it sounds like you're having other problems. For one thing, your room is tiny. I've usually tried (and suggested) heavy absorption in such a small room on the theory that at least you can kill most of the comb filtering and modal issues and add back synthetic reverb later. It's sort of the "lesser of two evils" approach. However, you're fighting an even uglier problem. Have you tried PZM mics on the ceiling? I think placing standard small diaphragm condensers or dynamic mics CLOSE to the ceiling is asking for trouble. You'll get major comb filtering related to the spacing. That's about the overheads. The other issue is a 57 on the snare . . . and to my ears, that "tried and true solution" rarely is. Can you find something like a cheap Oktava condenser for that mic? Something with a bit more high end boost and a little less basketball bounce? |
Garrett H wrote on Thu, 06 May 2010 15:26 |
Realize that you're putting up a good fight. 9 x 11 x 7 is just tough. You might want to consider replacing the snare with some of the aftermarket drum replacers if you 'need' a specific sound. Otherwise, continue experimenting to squeeze as much quality as you can given that space. If you ever end up moving to a bigger studio/room, you'll be that much better of an engineer, and if you stay where you are you'll have the satisfaction knowing that you busted your tail doing all you could. Specific thoughts I have are making sure the drums are set up in the direction that gives the best sound. For example, it may make sense to set up the drums facing one way, but it could sound better if they are rotated 90 degrees, or even 45 degrees. That, plus the wood and room ideas above could help you. Finally, remember many many many "top" names started off with the same constraints you're fighting with. Don't let it discourage you - but don't beat yourself up if you can't get Ocean Way's drum sounds where you are. Best wishes, GH |
tom eaton wrote on Sun, 09 May 2010 21:30 |
I'm going to say something I've said before... that might come off as blasphemous... but... I would love to hear what people think are good drum "sounds" on a Motown track. Appropriate, yes... functional, yes... but high fidelity? Absolutely not. Motown stuff was done in a small space, for sure, but I think the playing and performances are the magic... I've never really thought that anything from Motown had "great" sounds in the abstract. Which maybe is the greater point... it is possible that you can find something that really works for the given song within the limitations of what you can achieve in the space... in fact, very likely! Find something unique that only your space can do... tom |