thank you! this was its first outing with some new heads I made for it - It's a little fiddly as Trixon put this internal muffling device in it, which I'm not sure I love as it's almost too much! Thanks for the kind words, appreciated!
I once used a goose-neck computer mic to record a drum kit, as that's all I had. Recorded the entire kit, experimenting with placement within the room, into a minidisc player. Added eq before sending into the cheapest ever tape 4 track, and it sounded surprisingly good mixed with all the other instruments.
i find it pretty funny that a bass amp made a brief cameo in the end, mostly because i just bought the same one and i've never even heard of those before and now i see them everywhere.
@4:36 IDK. Sounds like the Kick is landing in the same frequency as the bass. I can really hear the 180hz-200hz. I think you might have the frequencies class between the Kick and Bass. You didn't have a total mix with just the kick, so I don't know.
Sorry, just pointing as close as I could get to where the beater strikes at like a 45 degree angle to the drum (the angle won't matter as much with omni as there's no off axis)
If you want to sound a bit pretentious, you can pronounce it the French way: la-vali-[e]. But in France we call it a micro-cravatte (tie microphone) or a ‘lav’. Honestly, I didn't think a little electret could handle the acoustic pressure of a kick drum or anything more powerful than a classical guitar. I don't think I'd risk it with a DPA.
Thinking ab it, I do it by bring the wires to only the one side of the coil while you're swapping sides each time. I wonder if you're way is better at preventing knots? Anyways, I'm excited to try out using SM's as omis!
I had it inverted - but because of the frequency differences between the front & back mic - it made more of a difference with the phase relationship of the snare bottom mic. Thanks!
coming soon! it's a decade long project of trying to make a poor mans (me) version of a neumann ku100... mike is currently v4.0 (I think) and I think I've finally got it. I will make a video in the next couple of weeks detailing it. It's basically a really, really good mic for like £200...
@@tommeke5761 You're correct, but nobody where I'm from says the french pronunciation. It's only Lav and Lava-Lear mics. You'd get side-eyes for trying to be too fancy with the french pronunciation.
yeah, a man huge influence over here, not just as an engineer, but as someone who did it in the diy fashion and operated with that ethos. Definitely missed, I'd still love to record at electrical audio at some point, I'm glad they've managed to work out how to keep that place going.
DIY Omni mic... Q: How? A: Easy! Point the SM57 at flat surface, or a wall! (or ceiling...) But my idea is Kind of dumb... Tape around the neck of the mic? Interesting... Why did it have to be omni? yeah SPL=0, but you just wanted the bass drum... And the tape around the neck of the mic made it tinny... Bass drums are BASSY! (Is bassy even a word?) And aren't you going to get some random noise from the BD pedal in there with an omni? ? ?!?!?! IMHO I like using lapel mics as omnis, but they are kind of sensitive: SPL=ALOT!!! (I should look it up, all I know is a preacher who shouts can't have the lapel mic too close to his mouth...)
Pointing it at a flat surface creates a boundary mic, that's more accurately a half cardioid than omni. Couple of points to clarify: Spl doesn't exist in dynamic mics - it's governed by the preamp, but most dynamic capsules can take up to 180db before (presumably) exploding. Source: Shure website. I wanted omni not necessarily for the pickup characteristics but for the lack of proximity To try a sort of elaboration from what Albini suggested but with what I had available I have the 'bass' element or low end from the second mic, I was missing the attack/transient - which is upper mid range just because it's called a bass drum, it's not purely bass frequencies because of the closed head on the drum it's harder to achieve both transient and bass with a single mic. Not all lapel mics are that sensitive the lav Steve mentions is a Countryman isomax that can handle 150db, which would be more than adequate in this operation. Also, it's not dumb if it did what I wanted, so you know. Jog on.
@Freddy-Da-Freeloadah, The desire is to hear more of the transient/attack/hit of the beater so it's not so soft. To be even more counter-intuitive, try high-shelving the beater omni, removing the "bassy" low-end and keeping the sharper transients. Overheads and other close-mics are picking up the kick too, so high-shelving that accessory mic (on the beater) can help control the mix by not adding conflicting "character" from too many mics and their different response/delay/etc. (muddled). If it's too crisp or clicky, lower the roll-off frequency to taste, bringing those "bassy" freqs from that mic back into the mix. Or, a compressor on just that mic to keep all of the freqs during the hit then shut them down (transient shaper). @MAJETONE BTW, this sounded amazing on my new LP-UNF Kali's (my work computer speakers, I really should get back to work). I have lots of tape scars on my 57s.
Former theatre kid here: Wealways pronounced it Lav-a-Leer
Sure, but is 'we' from the south?
I work in film production: we call it a "lahv-ah-leir" mic.
I really like it with your very well tuned bass-drum. Realy nice drum kit.
thank you! this was its first outing with some new heads I made for it - It's a little fiddly as Trixon put this internal muffling device in it, which I'm not sure I love as it's almost too much! Thanks for the kind words, appreciated!
I once used a goose-neck computer mic to record a drum kit, as that's all I had. Recorded the entire kit, experimenting with placement within the room, into a minidisc player. Added eq before sending into the cheapest ever tape 4 track, and it sounded surprisingly good mixed with all the other instruments.
I came from exactly the same sort of thing! I got some pretty cool drum sounds! Loads of fun
This was a great video!! Subscribed instantly. Love this
Remember to flip the polarity on the AKG or even just play with it and set it so whatever gives you the most low end!
worked pretty nicely!
Covering the rejection ports on any cardioid mic it turns it into an omnidirectional mic.
Noooice, noooice noooice. Didn't know you could turn a 57 into an omni at all! Thanks man!
Closest to french would sound more like : Lava-Lee-hey
i find it pretty funny that a bass amp made a brief cameo in the end, mostly because i just bought the same one and i've never even heard of those before and now i see them everywhere.
there is allways something to learn. next time i m confronted with a closed base i remember you. THANK YOU
Cool vid! Nice natural drum sound overall!
I did like it, and I subscribed. Got a nice tip and dug your style sir!
Thank you for pronouncing Lavalier correctly.
@4:36 IDK. Sounds like the Kick is landing in the same frequency as the bass. I can really hear the 180hz-200hz. I think you might have the frequencies class between the Kick and Bass. You didn't have a total mix with just the kick, so I don't know.
dynamic mics do have a maximum spl and if exceeded, the mic will distort. I might try this with a crummy lav sometime though to see for myself!
So you transformed it into an omni to remove the proximity effect when putting up close the bass-drum head.... nice!
Where/how did you place the 57 on the beater side?
Sorry, just pointing as close as I could get to where the beater strikes at like a 45 degree angle to the drum (the angle won't matter as much with omni as there's no off axis)
@ Thank you
If you want to sound a bit pretentious, you can pronounce it the French way: la-vali-[e]. But in France we call it a micro-cravatte (tie microphone) or a ‘lav’.
Honestly, I didn't think a little electret could handle the acoustic pressure of a kick drum or anything more powerful than a classical guitar. I don't think I'd risk it with a DPA.
I say lavaliere the same way you did in the video. I love the trick with the SM57. I'm gonna try it paired with a Sub-Kick as well.
Yeah that might be pretty good, the two characteristics matching up!
Very interesting, thanks for the great vid!
5:27 Wait, am I doing the over-under wrapping technique wrong? Or is this a different coiling technique?
I'm not sure! This is the one I was shown back when I was an assistant and tbh I've never thought about any other way! haha!
Thinking ab it, I do it by bring the wires to only the one side of the coil while you're swapping sides each time. I wonder if you're way is better at preventing knots? Anyways, I'm excited to try out using SM's as omis!
fucking gamechanger
no mention of polarity on the front and back.. nice groove
I had it inverted - but because of the frequency differences between the front & back mic - it made more of a difference with the phase relationship of the snare bottom mic. Thanks!
I want to know more about Mike.
coming soon! it's a decade long project of trying to make a poor mans (me) version of a neumann ku100... mike is currently v4.0 (I think) and I think I've finally got it. I will make a video in the next couple of weeks detailing it. It's basically a really, really good mic for like £200...
What a freaky trick! Thanks!!
Very nice.
I think i have the same ludwig snare and I love it
70's Acrolite! One of the greats! I borrowed mine from Drumattic for the day as I stupidly sold the one I had years ago...
1:19 Lava-LEAR
LOL: It's french, for god's sake.
Definitvely not pronounced "lava lear"
@@tommeke5761 I have worked with many sound recordists in film production, that is what they are called, but ok
@@tommeke5761 You're correct, but nobody where I'm from says the french pronunciation. It's only Lav and Lava-Lear mics. You'd get side-eyes for trying to be too fancy with the french pronunciation.
Noted!
''Laval-yeah'' is the correct pronunciation from a French perspective 😊
we miss you steve
yeah, a man huge influence over here, not just as an engineer, but as someone who did it in the diy fashion and operated with that ethos. Definitely missed, I'd still love to record at electrical audio at some point, I'm glad they've managed to work out how to keep that place going.
@@MAJETONE totally,thanks.
great content. Thankyou
How far from the beater did you place the near end of the mic? I may try this in a live situation.
It's really pretty close, like an inch or so, keep me posted how you get on!
Lavalier? Just say lapel - problem solved!
Pronounced "Lay-peel"
DIY Omni mic...
Q: How?
A: Easy! Point the SM57 at flat surface, or a wall! (or ceiling...)
But my idea is Kind of dumb...
Tape around the neck of the mic? Interesting...
Why did it have to be omni? yeah SPL=0, but you just wanted the bass drum... And the tape around the neck of the mic made it tinny... Bass drums are BASSY! (Is bassy even a word?) And aren't you going to get some random noise from the BD pedal in there with an omni?
?
?!?!?!
IMHO
I like using lapel mics as omnis, but they are kind of sensitive: SPL=ALOT!!! (I should look it up, all I know is a preacher who shouts can't have the lapel mic too close to his mouth...)
Pointing it at a flat surface creates a boundary mic, that's more accurately a half cardioid than omni.
Couple of points to clarify:
Spl doesn't exist in dynamic mics - it's governed by the preamp, but most dynamic capsules can take up to 180db before (presumably) exploding. Source: Shure website.
I wanted omni not necessarily for the pickup characteristics but for the lack of proximity
To try a sort of elaboration from what Albini suggested but with what I had available
I have the 'bass' element or low end from the second mic, I was missing the attack/transient - which is upper mid range just because it's called a bass drum, it's not purely bass frequencies because of the closed head on the drum it's harder to achieve both transient and bass with a single mic.
Not all lapel mics are that sensitive the lav Steve mentions is a Countryman isomax that can handle 150db, which would be more than adequate in this operation.
Also, it's not dumb if it did what I wanted, so you know. Jog on.
@Freddy-Da-Freeloadah, The desire is to hear more of the transient/attack/hit of the beater so it's not so soft. To be even more counter-intuitive, try high-shelving the beater omni, removing the "bassy" low-end and keeping the sharper transients. Overheads and other close-mics are picking up the kick too, so high-shelving that accessory mic (on the beater) can help control the mix by not adding conflicting "character" from too many mics and their different response/delay/etc. (muddled). If it's too crisp or clicky, lower the roll-off frequency to taste, bringing those "bassy" freqs from that mic back into the mix. Or, a compressor on just that mic to keep all of the freqs during the hit then shut them down (transient shaper).
@MAJETONE BTW, this sounded amazing on my new LP-UNF Kali's (my work computer speakers, I really should get back to work). I have lots of tape scars on my 57s.
@@SilentKnightProductions Thanks! I've heard loads of great stuff about the Kali speakers glad to hear its translating :)
Dynamic mics have no SPL? That's not correct, they just have a higher maximum SPL rating
It was interesting!
D112? Im out. Bye.
Imagine recording a fart with this setup
because of the lack of proximity, it would be all crack and no thunder.