I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?
Are you mic-ing the little vent hole?

See12mic

see12mic wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

Same as any other micing approach, pick a spot you like.

Are you mic-ing the little vent hole?

No, I keep the mic a little away from the hole. Sometimes the mic winds
up about halfway down the side of the shell and back from the drum about
8" to a foot, and sometimes the mic is just above the top rim,
horizontal, aimed across the top of the head. Sometimes side micing
works for me and sometimes I do something else.

Just experiment.

--
ha

see12mic wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

Same as any other micing approach, pick a spot you like.

Are you mic-ing the little vent hole?

No, I keep the mic a little away from the hole. Sometimes the mic winds
up about halfway down the side of the shell and back from the drum about
8" to a foot, and sometimes the mic is just above the top rim,
horizontal, aimed across the top of the head. Sometimes side micing
works for me and sometimes I do something else.

Just experiment.

--
ha

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

-----
Normally I use a SD condenser, placed under the hi-hat pointed at the shell.
More attack - move toward the top. More snare - move toward the bottom. Move
to front/back for hi-hat leakage. Adjust in and out for tone. Play with it
until you get what you're lookin' for. Use low rolloff switch for kick bleed.
Hard rock snare may work better with hyper-cardiod dynamic.

Everything above is for starting only. Where and what you finally wind up with
is sometimes different.




Are you mic-ing the little vent hole?

See12mic




--Wayne

-"sounded good to me"-

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

-----
Normally I use a SD condenser, placed under the hi-hat pointed at the shell.
More attack - move toward the top. More snare - move toward the bottom. Move
to front/back for hi-hat leakage. Adjust in and out for tone. Play with it
until you get what you're lookin' for. Use low rolloff switch for kick bleed.
Hard rock snare may work better with hyper-cardiod dynamic.

Everything above is for starting only. Where and what you finally wind up with
is sometimes different.




Are you mic-ing the little vent hole?

See12mic




--Wayne

-"sounded good to me"-

On 20 Sep 2004 16:23:39 -0700, wrote:

Are you mic-ing the little venthole?

It's better to keep the mics away from the drummer if possible!

On 20 Sep 2004 16:23:39 -0700, wrote:

Are you mic-ing the little venthole?

It's better to keep the mics away from the drummer if possible!

I like this for drummers that use a lot of sidestick.

DM


"hank alrich" wrote in message ...
see12mic wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

Same as any other micing approach, pick a spot you like.

Are you mic-ing the little vent hole?

No, I keep the mic a little away from the hole. Sometimes the mic winds
up about halfway down the side of the shell and back from the drum about
8" to a foot, and sometimes the mic is just above the top rim,
horizontal, aimed across the top of the head. Sometimes side micing
works for me and sometimes I do something else.

Just experiment.

--
ha

I like this for drummers that use a lot of sidestick.

DM


"hank alrich" wrote in message ...
see12mic wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

Same as any other micing approach, pick a spot you like.

Are you mic-ing the little vent hole?

No, I keep the mic a little away from the hole. Sometimes the mic winds
up about halfway down the side of the shell and back from the drum about
8" to a foot, and sometimes the mic is just above the top rim,
horizontal, aimed across the top of the head. Sometimes side micing
works for me and sometimes I do something else.

Just experiment.

--
ha

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

I use an AKG C61 with an A51 swivel joint so I can get the mic in between the
snare & the high hat. I usually put the capsule about 6" from the rim, pointing
generally at the rim, sometimes more at the side, sometimes up a little higher
to peek down a bit on the head. All depends on the drummer & the drum.


Are you mic-ing the little vent hole?
BRBR

No.

Scott Fraser

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

I use an AKG C61 with an A51 swivel joint so I can get the mic in between the
snare & the high hat. I usually put the capsule about 6" from the rim, pointing
generally at the rim, sometimes more at the side, sometimes up a little higher
to peek down a bit on the head. All depends on the drummer & the drum.


Are you mic-ing the little vent hole?
BRBR

No.

Scott Fraser

On 20 Sep 2004 16:23:39 -0700, wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?
Are you mic-ing the little vent hole?



Nope. You're just putting a mic in a position near an instrument
where you think it might sound good. If anything, I'd AVOID
spotting on the vent hole. But try it and see.

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

On 20 Sep 2004 16:23:39 -0700, wrote:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?
Are you mic-ing the little vent hole?



Nope. You're just putting a mic in a position near an instrument
where you think it might sound good. If anything, I'd AVOID
spotting on the vent hole. But try it and see.

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect

In article writes:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?
Are you mic-ing the little vent hole?

No, just point the mic toward the side of the shell, about six inches
out. It's not crack'n'thunder snare, but it's a nice pleasant sound on
a decent drum hit right.

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article writes:

I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?
Are you mic-ing the little vent hole?

No, just point the mic toward the side of the shell, about six inches
out. It's not crack'n'thunder snare, but it's a nice pleasant sound on
a decent drum hit right.

--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

On Mon, 20 Sep 2004 20:05:15 -0400, playon wrote
(in article ):

On 20 Sep 2004 16:23:39 -0700, wrote:

Are you mic-ing the little venthole?

It's better to keep the mics away from the drummer if possible!

Hey,

Why not try adding to the conversation instead of sniping. People might get
the impression that you're just a jerk. Know what I mean?

Regards,

Ty Ford



-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

On Mon, 20 Sep 2004 20:05:15 -0400, playon wrote
(in article ):

On 20 Sep 2004 16:23:39 -0700, wrote:

Are you mic-ing the little venthole?

It's better to keep the mics away from the drummer if possible!

Hey,

Why not try adding to the conversation instead of sniping. People might get
the impression that you're just a jerk. Know what I mean?

Regards,

Ty Ford



-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

Are you using the CK28 capsule on the C61?

see12mic

(ScotFraser) wrote in message ...
I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

I use an AKG C61 with an A51 swivel joint so I can get the mic in between the
snare & the high hat. I usually put the capsule about 6" from the rim, pointing
generally at the rim, sometimes more at the side, sometimes up a little higher
to peek down a bit on the head. All depends on the drummer & the drum.


Are you mic-ing the little vent hole?
BRBR

No.

Scott Fraser

Are you using the CK28 capsule on the C61?

see12mic

(ScotFraser) wrote in message ...
I think there was some talk about a technique of mic-ing the snare
from the side with good results. If anyone has done this, what's the
procedure?

I use an AKG C61 with an A51 swivel joint so I can get the mic in between the
snare & the high hat. I usually put the capsule about 6" from the rim, pointing
generally at the rim, sometimes more at the side, sometimes up a little higher
to peek down a bit on the head. All depends on the drummer & the drum.


Are you mic-ing the little vent hole?
BRBR

No.

Scott Fraser

Yeah with this drummer of mine, he hits nearly every hit rim-shot, and
shell micing seems to pick that up alot nicer. I use the hypercardiod
md441, as it helps keep the hihat out of the way. If you have one of
those variable phase do-hickies, that may help line it up to the
overheads which, for me, pick up the rest of the snare sound.

Yeah with this drummer of mine, he hits nearly every hit rim-shot, and
shell micing seems to pick that up alot nicer. I use the hypercardiod
md441, as it helps keep the hihat out of the way. If you have one of
those variable phase do-hickies, that may help line it up to the
overheads which, for me, pick up the rest of the snare sound.

Wayne wrote
Normally I use a SD condenser, placed under the hi-hat pointed at the shell.
More attack - move toward the top. More snare - move toward the bottom. Move
to front/back for hi-hat leakage. Adjust in and out for tone. Play with it
until you get what you're lookin' for. Use low rolloff switch for kick bleed.
Hard rock snare may work better with hyper-cardiod dynamic.

Everything above is for starting only. Where and what you finally wind up with
is sometimes different

I'm just asking but, what would the advantage of a Hyper-cardiod be? You are
referring to a fig 8 pattern yes? Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?

Wayne wrote
Normally I use a SD condenser, placed under the hi-hat pointed at the shell.
More attack - move toward the top. More snare - move toward the bottom. Move
to front/back for hi-hat leakage. Adjust in and out for tone. Play with it
until you get what you're lookin' for. Use low rolloff switch for kick bleed.
Hard rock snare may work better with hyper-cardiod dynamic.

Everything above is for starting only. Where and what you finally wind up with
is sometimes different

I'm just asking but, what would the advantage of a Hyper-cardiod be? You are
referring to a fig 8 pattern yes? Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?

It's not crack'n'thunder snare, but it's a nice pleasant sound on
a decent drum hit right. BRBR

Exactly. It's usually on jazz drums that I use this approach.

Scott Fraser

It's not crack'n'thunder snare, but it's a nice pleasant sound on
a decent drum hit right. BRBR

Exactly. It's usually on jazz drums that I use this approach.

Scott Fraser

Are you using the CK28 capsule on the C61? BRBR

Yes. If it's a bit on the dull side I'll use a 451/CK1 instead.

Scott Fraser

Are you using the CK28 capsule on the C61? BRBR

Yes. If it's a bit on the dull side I'll use a 451/CK1 instead.

Scott Fraser

"Raymond" wrote in message
...

I'm just asking but, what would the advantage of a Hyper-cardiod be? You
are
referring to a fig 8 pattern yes?

A hypercardiod is not a figure 8.

Hal Laurent
Baltimore

"Raymond" wrote in message
...

I'm just asking but, what would the advantage of a Hyper-cardiod be? You
are
referring to a fig 8 pattern yes?

A hypercardiod is not a figure 8.

Hal Laurent
Baltimore

I'm just asking but, what would the advantage of a Hyper-cardiod be?

A tighter pattern, thus less leakage from the rest of the kit.

You are
referring to a fig 8 pattern yes?

No, hypercardioid is a whole different thing. It's more directional than a
cardioid, picks up less from the sides, but has a little zone of pickup from
the rear. Figure eights have equal (hopefully) pickup patterns front & rear.

Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?
BRBR

That's the idea, but in practice it's never that well delineated. In reality
everything is in every mic, but each mic gives its intended drum precedence.
Scott Fraser

I'm just asking but, what would the advantage of a Hyper-cardiod be?

A tighter pattern, thus less leakage from the rest of the kit.

You are
referring to a fig 8 pattern yes?

No, hypercardioid is a whole different thing. It's more directional than a
cardioid, picks up less from the sides, but has a little zone of pickup from
the rear. Figure eights have equal (hopefully) pickup patterns front & rear.

Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?
BRBR

That's the idea, but in practice it's never that well delineated. In reality
everything is in every mic, but each mic gives its intended drum precedence.
Scott Fraser

I'm just asking but, what would the advantage of a Hyper-cardiod be? You are
referring to a fig 8 pattern yes? Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?



Check this site out please.
http://homerecording.about.com/libra...y/aa032597.htm

--Wayne

-"sounded good to me"-

I'm just asking but, what would the advantage of a Hyper-cardiod be? You are
referring to a fig 8 pattern yes? Most snares are quite loud and the thing
behind close micing is to only get one drum sound into each mic right?



Check this site out please.
http://homerecording.about.com/libra...y/aa032597.htm

--Wayne

-"sounded good to me"-

In article ,
Hal Laurent wrote:

"Raymond" wrote in message
...

I'm just asking but, what would the advantage of a Hyper-cardiod be? You
are
referring to a fig 8 pattern yes?

A hypercardiod is not a figure 8.

It is, in fact, about halfway between a cardioid and a figure-8, much the
way that a cardioid is halfway between a figure-8 and an omni.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article ,
Hal Laurent wrote:

"Raymond" wrote in message
...

I'm just asking but, what would the advantage of a Hyper-cardiod be? You
are
referring to a fig 8 pattern yes?

A hypercardiod is not a figure 8.

It is, in fact, about halfway between a cardioid and a figure-8, much the
way that a cardioid is halfway between a figure-8 and an omni.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

i use this when i am recording on limited tracks/preamps. if i'm doing the old
"3 mic drum" thing i'll put a 57 on the side, somewhere between the top and
bottom, moving it until i get the right balance. i keep it pretty close to the
shell of the drum. by itself it sounds ratty but in the mix with a decent
overhead, it's quite snappy and nice.
-justin

i use this when i am recording on limited tracks/preamps. if i'm doing the old
"3 mic drum" thing i'll put a 57 on the side, somewhere between the top and
bottom, moving it until i get the right balance. i keep it pretty close to the
shell of the drum. by itself it sounds ratty but in the mix with a decent
overhead, it's quite snappy and nice.
-justin

Raymond wrote:

what would the advantage of a Hyper-cardiod be?

It's easier to put the hat in the null of a hyper.

Raymond wrote:

what would the advantage of a Hyper-cardiod be?

It's easier to put the hat in the null of a hyper.

Are you mic-ing the little venthole?

It's better to keep the mics away from the drummer if possible! BRBR


Now THAT's funny!

If you've got more contributions like that, don't let the humor police get in
your way. I read the thread for serious suggestions, but yours made me grin.
Now, back to my bad session.



Kevin M. Kelly
"There needs to be a 12-step program for us gearheads"