Hi from Italy, I have an Earthworks mic drumset DK25L (3 cardioid
condenser mics) to record drums. With a Millennia TD1 an 2 channels of
a Focusrite ISA428 the result was very good for me. Now the Focusrite
is coming back to its owner, a friend of mine, and I wish ask to you
if, for the purpose of recording a drums with these 3 mics, an
API3124m+ will do the job better than an HV3C or viceversa.
I know that I'm comparing apples and oranges, because API has this
"midrangey" ?!? sound and Millennias are famous for its clean sound,
but I think that any of the two has its own use. I mainly record
jazz/fusion and funky, so a clean sound it's not mandatory. By the way
a sound too thick could be not so good for this kind of mics.
Ok, the best thing to do could be to record the 2 overheads with an
HV3C and kick snare and 2 toms with an API3124m+, but in this way I
will not use the Earthworks drumset in a properly way.
With only three mics it seems that the sound is bigger than with 6/7
mics, maybe less phase problems?
Anyone is using these pres?
Many thanks in advance for any suggestion, and sorry for my little
english.
Roberto Costa

wrote:

for the purpose of recording a drums with these 3 mics, an
API3124m+ will do the job better than an HV3C or viceversa.
I know that I'm comparing apples and oranges, because API has this
"midrangey" ?!? sound and Millennias are famous for its clean sound,
but I think that any of the two has its own use. I mainly record
jazz/fusion and funky, so a clean sound it's not mandatory.

You completely understand the situation and I'd suggest that you start
with the API, but start saving some money for the Millenia or something
else really clean because you'll probably want to have it one of these
days. Or do the opposite. I suspect that you might not have the
flexibility over there that we get here in the US with some of the
better dealers. You could buy one, use it for a couple of weeks, listen
to your recordings, and keep it if you like it, or return it and try
the other if you don't. Or you could buy both and return the one that
least suits the sound you're aiming for. But since it's your sound and
your drums, the only way to make a decision is to hear it for yourself.

I don't know, but I CAN tell you that the Earthworks mikes are very
insensitive to loading. They don't change their sound based on the
load the way something like an SM57 will. So it'll reduce the amount
of perceived change you hear between different preamps.

Out of curiosity, is there anyway you can tell that just by looking at
the mic' specs?
I'm not from the EE side of the fence, so I'm always interested in
learning more from that point of view.

Rafael

Rafael Vanoni wrote:
I don't know, but I CAN tell you that the Earthworks mikes are very
insensitive to loading. They don't change their sound based on the
load the way something like an SM57 will. So it'll reduce the amount
of perceived change you hear between different preamps.

Out of curiosity, is there anyway you can tell that just by looking at
the mic' specs?

No, because manufacturers never bother to measure it. It's something that
OUGHT to be on the data sheet, but isn't.

I'm not from the EE side of the fence, so I'm always interested in
learning more from that point of view.

In general, you can assume that a transformerless condenser mike will
tend to be pretty immune to loading, a transformer-output one could have
some loading issues, and dynamic mikes will probably change sound with
loading.

In general, the amount that the sound changes with loading will tend to
follow the nominal output level on dynamic mikes. This isn't always the
case, though... the RCA 77DX ribbon mike changes sound a whole lot with
loading and has a pretty low output level, for instance.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"though, you're using omni overheads which
is going to make for more ambient sound.
--scott "

he has the cardiod set-up.

Hi Scott,

Scott Dorsey ha scritto:

wrote:
Hi from Italy, I have an Earthworks mic drumset DK25L (3 cardioid
condenser mics) ....

I don't know, but I CAN tell you that the Earthworks mikes are very
insensitive to loading. They don't change their sound based on the
load the way something like an SM57 will. So it'll reduce the amount
of perceived change you hear between different preamps.

This could be a good thing, for now.

I tend to always think a clean sound is good, but that's just me.

I suspect that in my case a clean sound could be preferable.
Maybe a pre less colored could give me a photograph nearly exact of the
drum sound.

Ok, the best thing to do could be to record the 2 overheads with an
HV3C and kick snare and 2 toms with an API3124m+, but in this way I
will not use the Earthworks drumset in a properly way.

Why not? What is a proper way, anyway? If it sounds good, it's right.

A proper way could be, for me, to use this drumset as it was created:
to record drums with three mics. I could experiment with this technique
(3 mics-1 for kick and 2 above the head of the drummer) plus a spot mic
as it is in use in the classical music world, so for instance a snare
mic to help the snare to come out of the mix, but if the drummer is
good I don't think I have to worry about different levels of the drums
and so on, hence the request for a good dualmono mic pre for the 2 mics
used as overheads, because for the kick mic I use the Millennia TD1
that is good.

With only three mics it seems that the sound is bigger than with 6/7
mics, maybe less phase problems?

Yes, for the most part. Also, though, you're using omni overheads which
is going to make for more ambient sound.
--scott
I'm using the DK25L that is a 3 cardioid set, not the DK25R (3 omnis),
I've choosen the 3 cardioids set because of my low ceiling drum
room, so the room sound it's not a big issue.
By the way here in Italy it's impossible to buy a pre, check it for a
week and bring it back to the shop to take another pre, I'm not a big
one.
I think that I'll buy the HV3C, it seems that API could be a more
drastic choice.
By the way reading r.a.p. for 5 years was and is an invaluable help to
start to record seriously.
Many thanks
Roberto