EQ Magazine - February 2008 - (Page 32) Gates assessing an offcamera critique. Simply put, the rule states that two mics must be placed at least three times the distance that either mic is positioned from the source sound it is capturing]. But, to be quite honest, it went pretty quick. We had a sound up within a day, and we pretty much had our phase correct. Was it also a hassle dealing with seven toms? Archambault: Once again, we had to customize our approach, because we had all these mic stands around the kit, and it was hard to get some mics in there. The first three toms were an 8"x8", a 10"x8", and a 12"x10", and we couldn’t squeeze MD 421s in there, because space was pretty tight over the hi-hat, and there were other cymbals around, as well. We ended up using Shure SM98s, which are miniature condensers often used to mic drums live. I haven’t really used them in the studio before, but I thought, “Well, that’s the only mic I can fit in there!” But they sounded great, and the signal rejection between toms was really good, because the 98s are hypercardioid. For the rest of the toms, we used MD 421s. The Rev’s two floor toms are 18" and 16"1 in diameter, and we weren’t getting enough body, so we added a bottom 421 along with the 421 on top. That helped us get the girth, and we didn’t have any phase issues. Did you do stereo submixes to manage the toms a bit easier? Archambault: We left the toms on separate tracks. The only things we bused 32 EQ FEBRUARY 2008 www.eqmag.com http://fullcompass.com http://fullcompass.com http://fullcompass.com http://www.eqmag.com
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