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| i'd go condensor for the over head and dynamic for the bass.
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| +1 The dynamic placed close will capture the kick signal better than it would the overall image of the set as an overhead. You'll have to experiment as to mic placement and find the place that gets the sounds you want without getting too much of the cymbals in the mix. I would probably place the mic a little forward on the set and aim it back toward the snare drum. Find the spot where the cymbals aren't overbearing and go from there. Be sure to process the kick mic and don't place it too close to the part of the head where the muffling is. |
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I did one the other day with two KSM109s straight into the Fireface. Each was about waist high at about 10 and two o'clock, pointed at the snare. It turned out fabulous for the knid effect I was looking for, which was a straight-ahead "acoustic" sound. Plenty of kick, snare popped right out after I EQ'd a little of the room out. Also did one with a stick and a brush where I hung a tube mic in omni between the crashes, closer to the drummer and an i5 on the snare. The snare was EQ'd to bring out the brush and kept as far away from the hats as possible. Really fantastic holistic vintage sound. For any area miking scheme, don't worry about the kick; it'll take care of itself. You'll have all you can stand. I never use more than 4 mics.
__________________ It's almost common sense. |
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| acoustic, bass, condenser, condensor, drum, drums, mic, mix, overhead |
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