crankyrayhanky
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I would keep this mic, but I'm in a money crunch. It's 100% cosmetic and performance. I have the original box, but it's a little roughed up looking- happened when the mic was in it's carrying case or set up in my smoke free studio. Clip and pouch are included, and I may have the paperwork around here somewhere as well.
Cool mic for guitars as well bass, floor tom, but obviously kick is where it's at.
pm your email to me for pics.
msrp $699 major outlets $499
your low low MTS Forum price $275- includes shipping and paypal to the CONUS
100% feedback under the same name eBay
info from the AT site
http://www.audio-technica.com/cms/wired_mics/4359efa46266c7e9/index.html
cool info from
http://emusician.com/mag/emusic_frank_talk_filipetti/
You recorded and mixed the upcoming Korn record Take a Look in the Mirror [Epic/Immortal, 2003] at lead singer Jonathan Davis's personal studio [see Fig. 3]. How did you mic David Silviera's kit?
I used an Audio-Technica AE2500 ? the dual capsule mic ? for the bass drum; an old mic, an AKG D36; and a Neumann U 47 FET. I also had a tube Neumann U 47 in the room aimed at the bass drum. The drum had no front cover, and the AE2500 was slightly inside the rim of the drum right on the beater. The AKG D36 and 47 FET were slightly off-center and back a couple of inches, with the U 47 about two feet away for the extreme low end (see Fig. 4).
The snare mic was an Audio-Technica AE3000, with an Audio-Technica AE5100 underneath. The hi-hat was a Neumann KM 84, the overheads were Sanken CU44s, the ride cymbal was a Schoeps, and the toms were Sennheiser 421s, except for his ?gong drum,? which was mostly an Audio-Technica AT4047/SV. And then a couple of Neumann CMV 3s for the room.
Is using that many mics on a bass drum normal for you?
It's typical for a rock session. On a jazz date, I use two mics. On a Broadway date, I'd probably use just the AE2500.
For the bass drum on rock sessions, you want lots of impact and extreme amounts of low end ? attack and depth. I use miking and phase to get the initial attack and the low impact that occurs microseconds later. I'll have one mic, possibly two, that are slightly out of phase with each other, and I'll add them together in a way that combs out 300 to 700 Hz. You can also do that with EQ, but I like it better using phase.
The same with rock guitars. You can put one or two mics right on the cone, then add a couple more slightly out of phase with them by moving them back a few inches. It's taking that rule of threes and standing it on its head ? putting two mics at slightly different distances from the source to get a comb-filtering effect. That sometimes works well on guitars; you move mics around until you get the sound you're looking for.
Do you listen on headphones while you're moving the mics?
No. While we set up, even before the drummer gets there, I have someone hitting the bass drum. I record a bit, then listen, and also look at the signal path in the waveforms on the Euphonix R1, which is what I record to. Then I play with the phase. It's a process of experimentation.
That's a rock date, when you don't necessarily want the bass drum to sound the way it does in the room. You're accentuating some of the fundamentals and removing some of the midbass harmonics. Unlike a jazz date, when it's important to get the natural sound of the drum ? the ring of the head, the natural dynamic. On a jazz date, I don't generally play with phase. In the past, I'd use a dynamic and a condenser and try to get the capsules matched as closely as I could. With the AE2500, a very clever mic that has two capsules ? one a dynamic, and the other a condenser, which are totally phase aligned ? A-T has done that for me.
Cool mic for guitars as well bass, floor tom, but obviously kick is where it's at.
pm your email to me for pics.
msrp $699 major outlets $499
your low low MTS Forum price $275- includes shipping and paypal to the CONUS
100% feedback under the same name eBay
info from the AT site
http://www.audio-technica.com/cms/wired_mics/4359efa46266c7e9/index.html
cool info from
http://emusician.com/mag/emusic_frank_talk_filipetti/
You recorded and mixed the upcoming Korn record Take a Look in the Mirror [Epic/Immortal, 2003] at lead singer Jonathan Davis's personal studio [see Fig. 3]. How did you mic David Silviera's kit?
I used an Audio-Technica AE2500 ? the dual capsule mic ? for the bass drum; an old mic, an AKG D36; and a Neumann U 47 FET. I also had a tube Neumann U 47 in the room aimed at the bass drum. The drum had no front cover, and the AE2500 was slightly inside the rim of the drum right on the beater. The AKG D36 and 47 FET were slightly off-center and back a couple of inches, with the U 47 about two feet away for the extreme low end (see Fig. 4).
The snare mic was an Audio-Technica AE3000, with an Audio-Technica AE5100 underneath. The hi-hat was a Neumann KM 84, the overheads were Sanken CU44s, the ride cymbal was a Schoeps, and the toms were Sennheiser 421s, except for his ?gong drum,? which was mostly an Audio-Technica AT4047/SV. And then a couple of Neumann CMV 3s for the room.
Is using that many mics on a bass drum normal for you?
It's typical for a rock session. On a jazz date, I use two mics. On a Broadway date, I'd probably use just the AE2500.
For the bass drum on rock sessions, you want lots of impact and extreme amounts of low end ? attack and depth. I use miking and phase to get the initial attack and the low impact that occurs microseconds later. I'll have one mic, possibly two, that are slightly out of phase with each other, and I'll add them together in a way that combs out 300 to 700 Hz. You can also do that with EQ, but I like it better using phase.
The same with rock guitars. You can put one or two mics right on the cone, then add a couple more slightly out of phase with them by moving them back a few inches. It's taking that rule of threes and standing it on its head ? putting two mics at slightly different distances from the source to get a comb-filtering effect. That sometimes works well on guitars; you move mics around until you get the sound you're looking for.
Do you listen on headphones while you're moving the mics?
No. While we set up, even before the drummer gets there, I have someone hitting the bass drum. I record a bit, then listen, and also look at the signal path in the waveforms on the Euphonix R1, which is what I record to. Then I play with the phase. It's a process of experimentation.
That's a rock date, when you don't necessarily want the bass drum to sound the way it does in the room. You're accentuating some of the fundamentals and removing some of the midbass harmonics. Unlike a jazz date, when it's important to get the natural sound of the drum ? the ring of the head, the natural dynamic. On a jazz date, I don't generally play with phase. In the past, I'd use a dynamic and a condenser and try to get the capsules matched as closely as I could. With the AE2500, a very clever mic that has two capsules ? one a dynamic, and the other a condenser, which are totally phase aligned ? A-T has done that for me.
