Thanks Al - I think the reference to compromise was only in the context of the Tour series hardware compared to the Origin series hardware. Of course, Tour hardware isn't a compromise at all, it's a deliberate choice of mass + function that suits the characteristic aims of the drums. The cost saving is a coincidental consequence of that.
Thanks Fraser - great review team that offer informed critique that's not influenced by commercial pressures or bias. Offer your drums with confidence.
They're so lovely. Love the sound of these an they sound like they keep their tone with quiet studio players such as myself. Worth saving up for! Does anyone know if the company is still around?
I'm enjoying these reviews - thanks. The only thing which 'concerns' me is that almost any kit can be made to sound good when using mics on every drum. Can you perhaps say a little bit about how the kits are miced, whether you use EQ and so on? Or perhaps put it in the SHOW MORE part under the videos? I sometimes wonder if the only way to compare kits fairly is to have a high-quality camera with good built-in mics and just point it at the kit. What do you think? Cheers.
Michael - you make some valid points, but as someone who's supplied drums to Drummer's review, I can give you our take. Having all drums recorded in the same space, using the same mic's, & identical processing was a critical element in our decision to offer our drums. Additionally, as we usually present our own drum videos without any EQ or other enhancements, a minimal processing environment was also important. We have been assured that any processing used, is at an absolute minimum, applied equally to all reviews, & only that necessary to replicate the sound heard in the room. I'm sure someone from Drummer's Review will be happy to elaborate on this.
Thanks for that. Yes, my comments were not in any way specifically about this video/Guru drums - more of a general comment on the recording methods in all of the videos. Cheers.
Completely understood Michael, & taken in the spirit in which it was offered. At Guru, we're very critical of the commonly overtly processed reviews, & won't submit our drums accordingly.
Hey Michael, as Guru has mentioned, we record with conservative mic placement and minimal EQ, which is ostensibly employed just to reduce some of the muddiness you inevitably capture when you close-mic a kit. To give more detail, We record with a single Beyerdynamic M88 in front of the drum, unless is it is un-ported (as in this review), in which case we supplement the sound with a Shure SM57 positioned on the batter side, high-passed at 500Hz and with a gate applied, keyed from the M88 in order that there isn't a lot of nasty spill coming from the underside of the snare. Snare drums are recorded with Shure SM57s top and bottom, with the top mic patched through an API 550b EQ applying 4dB lift at 10kHz, 2dB cut at 700Hz, and 2dB boost at 200Hz. The bottom mic is left raw and levelled very quietly in the mix. Toms are mic'd with Josephson E22s, which are high-passed at 50Hz in the DAW, as well as having a wide-Q 4dB cut at 600Hz. I use a pair of AKG C414 EB mics for overheads, in a spaced pair, each measured to be equidistant at 4ft from the centre of the snare. The mics are in cardioid mode and have their internal 75Hz high-pass filter engaged. In the DAW I cut 3dB at 6.5kHz and shelf-boost 12kHz by 3dB. The room ambience is captured by an AEA R88 mkII stereo ribbon mic operating in M/S about 3m away from the kit. I use a transient designer to highlight the sustain moderately without introducing compression artefacts. All mics are patched through Phoenix Audio preamps with exception of the AEA which runs through a pair of AEA RPQ500 preamps. No compression is used on any channel, and is un-EQ'd unless noted above. This recording approach was settled on after very careful deliberation and is designed to allow viewers to hear the subtleties in the sound of the various drums and cymbals as clearly and distinctly as possible while still having some sense of polish, and without working to the favour of a particular style of drum or playing, as well as being completely replicable in each session. I hope that helps!
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
One of the best kits i've ever heard period!
there are other Guru kits that sound better than these, they have a few videos here on yt
Thank you.
Of course "better" is subjective, but different = yes :)
Money should not be a problem for those how wants Quality and these drums has it all
Well done Guru!
These are truly some of the best sounding drums I have ever heard! They look amazing too. I wish I was richer....
The kit sounds incredible! In particular those are the best sounding toms i've heard of any kit reviewed on your channel.
Thank you.
Amazing Sound🔥🥁🔥
wow this kit sounds unbelievable
Those toms sound FAR larger than their diameter would lead you to believe. This doesn't sound like a compromise at ALL. Nicely done, Guru!
Thanks Al - I think the reference to compromise was only in the context of the Tour series hardware compared to the Origin series hardware. Of course, Tour hardware isn't a compromise at all, it's a deliberate choice of mass + function that suits the characteristic aims of the drums. The cost saving is a coincidental consequence of that.
Superb work from Guru as always! Nice review as well!
Thanks Fraser - great review team that offer informed critique that's not influenced by commercial pressures or bias. Offer your drums with confidence.
They're so lovely. Love the sound of these an they sound like they keep their tone with quiet studio players such as myself. Worth saving up for! Does anyone know if the company is still around?
…and you’ve gotten that sound out of a 10” rack tom? You have to be kidding me. Wow! Extraordinary kit.
Thank you Rich - that little 10" is an absolute honey.
snare sounds fantastic
Do you see a review of the Tama Starclassic B/B in the future? I'd like to hear your take on it!
This kit sounds awesome
Thank you Paul :)
I'm enjoying these reviews - thanks. The only thing which 'concerns' me is that almost any kit can be made to sound good when using mics on every drum. Can you perhaps say a little bit about how the kits are miced, whether you use EQ and so on? Or perhaps put it in the SHOW MORE part under the videos? I sometimes wonder if the only way to compare kits fairly is to have a high-quality camera with good built-in mics and just point it at the kit. What do you think? Cheers.
Michael - you make some valid points, but as someone who's supplied drums to Drummer's review, I can give you our take. Having all drums recorded in the same space, using the same mic's, & identical processing was a critical element in our decision to offer our drums. Additionally, as we usually present our own drum videos without any EQ or other enhancements, a minimal processing environment was also important. We have been assured that any processing used, is at an absolute minimum, applied equally to all reviews, & only that necessary to replicate the sound heard in the room. I'm sure someone from Drummer's Review will be happy to elaborate on this.
Thanks for that. Yes, my comments were not in any way specifically about this video/Guru drums - more of a general comment on the recording methods in all of the videos. Cheers.
Completely understood Michael, & taken in the spirit in which it was offered. At Guru, we're very critical of the commonly overtly processed reviews, & won't submit our drums accordingly.
Great sounding drums, as we've come to expect from Guru!
Hey Michael, as Guru has mentioned, we record with conservative mic placement and minimal EQ, which is ostensibly employed just to reduce some of the muddiness you inevitably capture when you close-mic a kit.
To give more detail, We record with a single Beyerdynamic M88 in front of the drum, unless is it is un-ported (as in this review), in which case we supplement the sound with a Shure SM57 positioned on the batter side, high-passed at 500Hz and with a gate applied, keyed from the M88 in order that there isn't a lot of nasty spill coming from the underside of the snare.
Snare drums are recorded with Shure SM57s top and bottom, with the top mic patched through an API 550b EQ applying 4dB lift at 10kHz, 2dB cut at 700Hz, and 2dB boost at 200Hz. The bottom mic is left raw and levelled very quietly in the mix.
Toms are mic'd with Josephson E22s, which are high-passed at 50Hz in the DAW, as well as having a wide-Q 4dB cut at 600Hz.
I use a pair of AKG C414 EB mics for overheads, in a spaced pair, each measured to be equidistant at 4ft from the centre of the snare. The mics are in cardioid mode and have their internal 75Hz high-pass filter engaged. In the DAW I cut 3dB at 6.5kHz and shelf-boost 12kHz by 3dB.
The room ambience is captured by an AEA R88 mkII stereo ribbon mic operating in M/S about 3m away from the kit. I use a transient designer to highlight the sustain moderately without introducing compression artefacts.
All mics are patched through Phoenix Audio preamps with exception of the AEA which runs through a pair of AEA RPQ500 preamps.
No compression is used on any channel, and is un-EQ'd unless noted above.
This recording approach was settled on after very careful deliberation and is designed to allow viewers to hear the subtleties in the sound of the various drums and cymbals as clearly and distinctly as possible while still having some sense of polish, and without working to the favour of a particular style of drum or playing, as well as being completely replicable in each session.
I hope that helps!
amazing sund keep it up
Cheers :)
Too bad that Guru Drums don't exists any more.