edisonfreeman

When I was working my oppressive management job, it was one a year...but now that I have gone the self-employed route, I put about 20-30 hours a week into studio work, and am going at the rate of about 2 per month since January. The best part is that it is much more quality work. I'm doing what I love, to write. Everything else is just fluff.

Well, I wouldn't give anyone any advice unless they agree I'm gettin a good sound. The link in my signature on this post takes you to "5 miles past nowhere" the state of the art in my drum recording. I like the sound, but that doesn't mean anybody else will, does it? Cheap way to get a listen, huh!

Just getting closer to the head is the only way. It's most critical on the smaller diameter Toms. As long as I stay 4" or closer it hasn't been a prob for me. Plus I play fills quite hard!

The first Eurythmics album was done at a private residence too, on a Tascam 80-8. Dave Stewart knows what he's doing, of course...

I have an A4000. Anyone else?? :

Well, You're right about one thing. They are not real intuitive, but once I figured out what they were driving at, I just love my A4000! I bought a demo unit when Mars went out of business last December, and I've got to tell you, I really got my money's worth! And it's compatible with all of the Akai sample libraries... Sonic quality is excellent, noiseless, and built in SCSI is real good for me.

Well, my method is bottom heads off everything except snare (duhh...) and use a dampered head. Remo pinstripes work great for me, I tune my drums VERY deep, and mount large diaphragm condensors (ADK A-51's) 4 inches below the center of the head way up INSIDE the 16" and 14" floor tom. I use SM57's the same way in the 10" and 12" mounted toms. I put an SM57 1" away from the snare head at the rim, angled in to the center and pointing directly at the throne. For the Kick I use a Shure Beta52 4" away from the point where the beater hits, and a large diapragm condensor (Behringer B-2!) about a foot behind it, to get an accentuated "click". Overheads (ATM33a) mounted together pointing away from one another to eliminate phasing problems, straight out toward crash cymbals. There is just NO leak into those Tom mics. A slight leak of snare through the kick drum head into the Beta52. I EQ that mic to be TOTAL low end. Slight leak into the condensor, I parametrically EQ that right out. Total control. Snare mic gets a lot of hi-hat. I don't know of any way to change that, but it's ok, because the snare comes out way louder. Overheads get mostly cymbals, but also snare and hat, mounted toms on fills, not much from kick or floor toms. I record 9 channels simultaneously just for drums. This gets just the sound i am after.

I use a pair of Audio Technica ATM33a's to pick up the extreme high frequencies that dynamics just can't get. I like the "shimmer" from cymbals to be quite present.

My live kit is a brand new set of black Ludwigs. They sound just great! My only complaint was that the metal in the kick drum beater was a little soft. The end of my first nite on them it was a 20% crescent moon shape! LOL I replaced it with a DW beater. MUCH better!

Premier is one of those outfits that doesn't do much in the way of endorsements, I guess ! LOL Seriously, I love my Premier XPK set. Thunderous kick with a Pinstripe Head tuned waaaay low.