Today I set up the room for a drum session with the Storch brothers. If you notice in the first picture the Oktava ribbon mic is at the end of a dampening tunnel about two feet behind a Sennheiser 902. The tunnel prevents bleed and preserves the "drum" sound. Hopefully, it will keep us from getting to much attack and more of the room sound of the kick. In the next photo, you can see I miced the snare over and under with a Shure SM57 and a Cascade Fathead. The SM57 is over and the Fathead is in the beige tube below the snare to prevent kick bleed. Picture three shows the overheads. This is a technique called "recorderman" pioneered by Daniel Lanois. The distance from the center of the kick and snare is exactly the same from both mics, thus, no phasing issues. The last shot shows the tunnel. It has several pillows and blankets and sheets and towels and t-shirts and Daisy's comforter. Notice the sound dampers and reflection stoppers around the mics. I will also put the Peluso P12 in the room for room sound; and, The Cascade Vinjet in the next room run through an Empirical Labs Distressor. The mics on the overheads are Cascade Radiators with Lundahl transformers. In all five ribbon mics, four dynamics, one condenser (on the hat) and a tube mic. Quite the array for four drums and a few cymbals. What do you think?
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