Hey Michael, these videos about miking a jazz drum set are awesome! I really appreciate them! Now we would only need a video on tuning to get such a great sound from the set as you do, especially the bass drum. Thanks again!
Great video.Could you please elaborate how you tune the bass drum? It sounds beautiful and dry, considering you are probably not burying the beater? My kit would get so boomy at that pitch it is really a struggle.
End the madness, put a FET47 somewhere in front of that kick, 12-18" out, give or take. Or go vintage crazy, put a 4038 on the beater side, to the right of your pedal, far enough back so the click and the boom merge. Call it 'thwap', on a low calfskin vibe it's old school heaven. Don't forget to flip the polarity on that pre!
I'm also a fan of putting a mike on the beater side and also getting some leakage of the snare bottom this way. How much, I can level with an EQ on around 5kHz. Most jazz drummers I record are looking for a kick drum sound similar to a floor tom but lower in pitch. So I use any mike that would sound also good on a floor tom. This way, I would not flip the phase. Theoretically, when you hit a drum, the drumhead is moving away from the mike. So the mike diaphragm is going out of the mike, therefor causing the membrane of the speaker also to move out. This is also the case for the toms and snare in the overheads. But I always check the phase in the DAW and give the kick drum a little delay to be in sync with the overheads. Two KM 148, Schoeps MK4 or Beyerdynamic M 160 in XY right above the snare are my favorite overheads, depending how bright the cymbals are. I only mike the snare and toms, when the cymbals are mounted very high above the drums. But I have not seen this in straight ahead jazz recently.
@@ReinerDamisch I get what you're saying, a lot of this is taste/preference. I generally flip polarity on a mic pointed straight at a batter head, unless the kick bleed is significant and the transient goes positive first, in which case I'll either leave it or (more likely) move the mic. You may have mistyped, but a drumhead that moves away from a mic capsule will cause rarefaction and (as you say) pull the capsule forward, but that will not push the speaker cone out, it will pull the cone inward. Rarefaction and forward capsule movement create negative voltage, aka waveform goes down, aka speaker pulls away from you (just as the drum pulled away from the mic).
!["สนธิ" ห่วงมีขบวนการปกป้อง "ทนายตั้ม" : [THE MESSAGE]](http://i.ytimg.com/vi/2GQNp3EoMc0/mqdefault.jpg)
![[Part 1] ทารกน้อยถูกทิ้ง👶 หญิงชราเก็บขวดขายเลี้ยงดูเขาจนโต #โลกการละคร](http://i.ytimg.com/vi/nPTDvFCExks/mqdefault.jpg)
Do try a capable ribbon mic on the jazz kick. I think you'll enjoy it. Great video! Nice to hear the 52 with a good jazz player.
Liked CENTRE 1" (with the overheads).
Hi! We grew up in the same neighborhood and went to school together. Just wanted to say I'm really happy you're still out there pursuing music 🥰
Hey Michael, these videos about miking a jazz drum set are awesome! I really appreciate them! Now we would only need a video on tuning to get such a great sound from the set as you do, especially the bass drum. Thanks again!
Great video.Could you please elaborate how you tune the bass drum? It sounds beautiful and dry, considering you are probably not burying the beater? My kit would get so boomy at that pitch it is really a struggle.
is the bkgrd music Martha's Prize?
Nice one! It is
End the madness, put a FET47 somewhere in front of that kick, 12-18" out, give or take. Or go vintage crazy, put a 4038 on the beater side, to the right of your pedal, far enough back so the click and the boom merge. Call it 'thwap', on a low calfskin vibe it's old school heaven. Don't forget to flip the polarity on that pre!
I'm also a fan of putting a mike on the beater side and also getting some leakage of the snare bottom this way. How much, I can level with an EQ on around 5kHz. Most jazz drummers I record are looking for a kick drum sound similar to a floor tom but lower in pitch. So I use any mike that would sound also good on a floor tom. This way, I would not flip the phase. Theoretically, when you hit a drum, the drumhead is moving away from the mike. So the mike diaphragm is going out of the mike, therefor causing the membrane of the speaker also to move out. This is also the case for the toms and snare in the overheads.
But I always check the phase in the DAW and give the kick drum a little delay to be in sync with the overheads. Two KM 148, Schoeps MK4 or Beyerdynamic M 160 in XY right above the snare are my favorite overheads, depending how bright the cymbals are. I only mike the snare and toms, when the cymbals are mounted very high above the drums. But I have not seen this in straight ahead jazz recently.
@@ReinerDamisch I get what you're saying, a lot of this is taste/preference. I generally flip polarity on a mic pointed straight at a batter head, unless the kick bleed is significant and the transient goes positive first, in which case I'll either leave it or (more likely) move the mic.
You may have mistyped, but a drumhead that moves away from a mic capsule will cause rarefaction and (as you say) pull the capsule forward, but that will not push the speaker cone out, it will pull the cone inward. Rarefaction and forward capsule movement create negative voltage, aka waveform goes down, aka speaker pulls away from you (just as the drum pulled away from the mic).
Depends on the BPM of this song?