EQ Magazine - September 2007 - (Page 32)

RUSH imaging of the kit, as well, adds Chycki. “Neil was sitting on ” a road case, watching me tape measure his kit to death to avoid phasing issues. We even made sure the RCA 44 was positioned behind him at the same distance from the snare as the overheads.” “We used a Shure Beta 57 for the top of the snare, and we miked the side of the shell with a Neumann KM84 pointing at the “EVERY PRODUCER I WORK WITH HAS A NEW MIC THAT SOUNDS BETTER THAN ANY MIC EVER MADE.” —GEDDY LEE wood, which was Rich’s idea, says Raskulinecz. “You can really ” hear the attack and the punch of the drum by pointing the mic at the body of the snare. The snare bottom was miked with a Sennheiser MD 441. We miked the tops of the toms with AKG C414 TL-IIs to capture detail, and we used Sennheiser MD 421s on the bottoms to pick up the resonance. Neil said this was the first time the bottom head of his toms had ever been miked. I was a little surprised about that.” Peart’s bass drum presented its own set of challenges, from phase issues to the physical aspects of miking it. “Neil prefers to play with both heads of his kick drum on, so we couldn’t get access to the beater skin, says Chycki. “We ended ” up taking off his kick-drum heads, putting an AKG D25 inside, and then sealing it up again. That mic obviously has a different phase relationship, because all the other mics are at the rear of the kick drum. The other mics we had were a Neumann U 47 FET, AKG D112, and a Yamaha NS-10 [Editor’s note: The Yamaha NS-10 is a studio monitor, but by taking the speaker cone out, and wiring it to an XLR, you can place the driver on a kick-drum head to capture great low-frequency sounds]. We aligned the D25 with the other mics using a Little Labs In Between Phase Alignment Device, which checks phase issues, and puts mic signals in phase quickly. This is important, because one of the reasons the drums sound so chunky is that you are hearing them Neil Peart shown tracking what Raskulinecz calls “fill passes” — extra fills recorded after the basic tracks that Raskulinecz would then put in place of the originals for a more diverse recorded performance. 32 EQ SEPTEMBER 2007 www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - September 2007

Contents Talk Box Sounding Board Get Cape. Wear Cape. Fly Ben and Vesper Kaiser Chiefs Toolbox Ozma Porcupine Tree Rush The Software Power User Guide Guitar Trax Bass Management Key Issues Drumheads Vocal Cords Mix Bus Cheat Sheet Chameleon Labs TS1 and TS2 Primera Bravo Se Disc Publisher Roland MC-808 Magix Samplitude Professional 9.1 Massey Tape-Head Big Fish Audio Revolucion Reggaeton Sonivox World Beats Sony Pocket Diva Adobe Audition 2.0 Cakewalk Sonar 6 Room with a VU: J Street Recorders, Sacramento, CA

EQ Magazine - September 2007

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