Musicpress

11 Responses to “You cannot find Drum Mic cheaper than the following on ebay”

1. scrambled_egg81 says:

   December 11, 2010 at 4:42 am

   All depends on what you’re using it for. Head to a local Guitar Center or music shop that sells drum kits and ask for a mic stand for kick drums. (Basically they’re just a small mic stand specifically designed to sit in front of a kick.) There’s really no advisable way you could clip it to the drum head without it coming loose or affecting the sound.For live shows, put the mic stand no more than 2 1/2 inches away from the head so you can get as much of the kick as possible without picking up other sounds. For studio recording, place it between 3 and 5 inches away for the best low end and punch. Hope it helps!
2. Saul says:

   December 11, 2010 at 4:17 pm

   Well, my first thought is maybe you just need to dampen the kick and snare… put a pillow or sweatshirt or something inside the kick drum itself, and either get one of those damper rings or tighten the snare down (I’m not a drummer, I’m not sure exactly what to call it).Sustain isn’t something that would strike me as a problem with the mic set itself… but there could be some proximity effect from having the mics too close. Try backing up the kick mic a few inches and see what that does. I would definitely try taking the snare mic off the snare and putting it on a stand… maybe there’s some vibration getting into the mic itself?If you play hot, you’ll need to give the mics more space, that’s a definite.Me, I’m not wild about using a lot of mics. In fact, the fewer the better, to my mind. Give me two overheads and a mic on the snare and I’m pretty much happy…. but then again, I use a drum trigger plugin to blend a pre-recorded kick sample back in the mix, it gives the track a solid kick, muy importante, especially if the drummer isn’t hitting the kick the same volume consistently. So two overheads, a kick, and a mic on the snare and hi-hat might give you a little more control? I just can’t see using more than that….Hmmm. EQ and whatnot for drums can be a little complicated. The very general rule of thumb is that every instrument in the mix should be highpassed, lowpassed, and often have a chunk cut out of its mids if its adding too much mud to the track (guitars are notorious for this, for instance).So for a kick I would highpass it between 50 and 70 hz. There’s not much benefit to go below 50 hz, except to eat up headroom. Most people don’t have sound systems capable of accurately reproducing that low, so it’s not useful. Higher highpass will decrease its thunk, but that’s not always a bad thing – it gives the bass more room for power. I would lowpass it somewhere between 4 and 7 khz. The kick’s mids are between 300 and 600 hz, usually, and you’ll want to bump the beater frequency, which is between 1.5 – 3 khz. This will help bring out the kick’s attack a lot.Toms should be highpassed between 90-150 hz and lowpassed the same as the kick. Their mud zone is a little bigger than the kick, but it depends on how much warmth you want them to have as well – 300 and 800 hz.All cymbals should be highpassed between 800 hz and 1.5 khz. The exact frequency will depend on the cymbal. Lower frequencies is where the “clang” is, so it’s not bad for rides, but for everything else you want more “sizzle” than “clang”. Lowpass to taste, but somewhere around 15 khz is a good place to start. Boosting around 7-10k will increase air and “ting”.Snares are tough, since they’re basically controlled noise. A good place to start is highpassing around 600 hz and lowpassing around 6 khz.Even more important than EQ is compression, though! Drums really deserve a lot of attention, compression-wise. A multiband compression can be done over the whole drum mix, or you can compress cymbals, kick, and snare separately. Or both. Kick and snare benefit more from ratios higher than 4:1, I think, while cymbals need lower ratios (1.5:1 to 2:1, perhaps). Ideally you don’t want to squash too much… you should be taking at least a few db off, but certainly no more than 6-10db from a signal.Hmm. That’s about what I can think of off the top of my head. Um, I guess I just assumed to were importing it to your computer, if you’re doing all analog all of this will be much, much harder…Well, anyways, good luck! You can email me through my profile if you have more specific questions, I’d be happy to help!Saul
3. constantine says:

   December 12, 2010 at 4:11 am

   I’d really recommend micing the bass drum and at least putting up some overhead mics for the rest of the kit.If you just mic the bass drum then the bass sound will come from the drums and the speakers, whereas the rest of the drums will just be coming from the drums, it’s better if the sound of everything comes from the speakers, if you get the mic levels right it’ll really work better.
4. videogamemega says:

   December 12, 2010 at 4:43 pm

   I saw one from nyko or something at gamestopn(new)
5. Mike says:

   December 13, 2010 at 4:08 am

   well you need to decide how many mics you want to get. you can get away with micing the bass, snare and then 2 overheads. then all you would need is a 4 channel mixer and then something to interface with your computer (if youre using a computer to record). or, you can mic all the drums and then 2 overheads then go with an 8 chan mixer.
6. KDecka says:

   December 13, 2010 at 4:32 pm

   Here’s a list of ‘magic frequencies’ for the drums you have listed:Toms: Fullness at 240 – 500Hz, attack at 5 – 7kHzhi-hat/cymbals: Clang at 200Hz, sparkle from 8 – 10kHzkick: bottom from 60 – 100Hz, hollowness at 400Hz, point from 3 – 5kHzsnare: fatness at 120 – 240Hz, point at 900Hz, crispness at 5kHz, snap at 10kHzThese are some good starting points for EQing drums.Some more tips and tricks:Narrow Q’s are for cutting, wide Q’s are for boostingIf you want something to stick out roll-off the bottom, if you want something to blend in roll-off the top.Work on it for a while and it’ll start to make sense. Well tuned drums and good miking technique will outdo EQ any day of the week though.-KDecka
7. DoomStrike says:

   December 14, 2010 at 4:02 am

   Most electronic game stores sell the drum kits themselves for guitar hero world tour and rock band, but you would have a harder time fimding the mic seperate. you can try ebay or some mics for different singing games might work on world tour. hope this helps.
8. MasterFlex says:

   December 14, 2010 at 4:09 pm

   No you can’t. I tried at my friends house and he just wasted mmoney on drums he will never use.
9. Eternal W says:

   December 15, 2010 at 4:03 am

   http://www.youtube.com/watch?v=L5Fjuz7jXzs found this youtube video teaching you how to use 2 mics
10. Frank says:

    December 15, 2010 at 4:23 pm

    What you definitely need:- A base mike (I prefer Sennheiser, but I also take them on the road and it has never failed me there).- Something straight forward for the snare. I usually go for the SM-57. Some powerful bangs for your bucks there.- You can mix the HH in with the snare (actually, good luck avoiding that) but for added crisp and control, place a condensator mike (AKG).- For the toms I’d use Sure drum mikes.- Finally, get one or two overheads, again I’d go with the AKG condensatorsHaving said that, this is what I work with and what works for me. Drum mic sets have come a long way in the last decade and they definitely look a lot cooler than my collection.As for the mixer, you shouldn’t have to worry about that, unless you’re planning on carrying your own PA.
11. pr0ph3t1cl1v1ty says:

    December 16, 2010 at 4:30 am

    I think a 7-piece is overkill. What you really need is a condenser mic for the bass drum, and then 2 to 4 area mics for the left & right side of the kit. It depends on what you want to emphasize. I mean, you could dedicate a mic to a snare or a hi-hat, but for playing live, it really doesn’t make that big of a difference.I’d say, go with 3 mics (1 for bass, 1 left, 1 right) and make sure the mix is good.If you were recording, I’d say go with 5-7 mics, but for playing live, 3 should be fine.