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Articles Tagged Drums

  • Thursday, June 25, 2015
    image
    Derek Sexsmith 06/25/15 11:25 AM,
    This article is provided by DerekSoundGuy.com. The snare drum and electric guitar are often the driving force of a song despite the kick and bass being considered the foundation of a mix. Turn down the snare drum and the congregation will feel reluctant to clap with the song.  Mic the top and bottom of the snare drum. The top mic will catch the stick hitting the drum and pick up much of the body of the snare. The bottom mic… View this story
    Filed in: Church SoundFeatureStudy HallEducationEngineerMixerProcessorSound ReinforcementStage

  • Thursday, April 30, 2015
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    PSW Staff 04/30/15 11:12 AM,
    Auralex Acoustics is now shipping the HoverDeck V2, the latest upgraded iteration of its ISO Series Drum and Percussion Isolation platform.  The Auralex HoverDeck V2 is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit or percussion setup from the structure, resulting in a tighter, purer sound for both studio and front of house. Auralex’s ISO-Puck modular risers minimize structure-borne sound transmission and sympathetic vibrations between drums and hardware. The low-profile isolating boards assemble via hook… View this story
    Filed in: AVAVManufacturerSound ReinforcementStageStudio

  • Friday, April 17, 2015
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    PSW Staff 04/17/15 07:37 AM,
    AKG by Harman announces the introduction of its D112 MKII kick drum microphone, successor to the company’s D112. The D112 MKII improves upon its predecessor with a new integrated flexible mount. “The D112 has earned a well-deserved reputation as one of the best kick drum microphones ever made, for its high SPL capability, punchy EQ and bulletproof construction,” said Erich Gaertner, product line manager, AKG. “However, its rigid mount sometimes made it a little tricky to place in the optimum… View this story
    Filed in: AVLive SoundRecordingAVMicrophoneSound ReinforcementStageStudio

  • Monday, April 13, 2015
    image
    PSW Staff 04/13/15 07:48 AM,
    Robert Venable is the owner of Off The Wall Studios and has worked on recordings by Megadeth, Scott Stapp, Disciple, INXS, Neal McCoy and dozens more. Venable has won a GMA Dove Award, has been nominated for a GRAMMY and is known for his ability to develop a personalized “sound” for each of his artists, most recently on Kelly Clarkson’s latest album Piece by Piece. One of Venable’s specialties is drum sounds – with the Harman dbx 160x Compressor/Limiter and… View this story
    Filed in: RecordingEngineerProcessorSignalStudio

  • Thursday, March 05, 2015
    audio-technica
    Mark Frink 03/05/15 03:34 PM,
    The drum sound is the heart of any band mix: kick drum keeps the pulse going, while the snare drives the rhythm and the overall beat gives each song its groove. Dynamic microphones are used for close miking drums because they’re sturdy, handle high SPL, provide off-axis rejection and often have a presence boost around 4 kHz that emphasizes attack. At the same time, digital consoles have changed the live sound workflow. Their instant recall forces drum sound check to… View this story
    Filed in: Live SoundFeatureBlogStudy HallConsolesEngineerMicrophoneSound ReinforcementStageWireless

  • Monday, March 02, 2015
    recording drums
    Joe Gilder 03/02/15 05:56 PM,
    Article provided by Home Studio Corner.   Ever want to get “huge, cannon-sized” tom tracks? On this video, Joe Gilder demonstrates an approach he’s developed to do just that. He starts with an example of a song featuring big tom sound that really fits the vibe and mood of the song, and then he loops back to his method in attaining that specific sonic signature. It’s not just a matter of working with reverb and EQ, but rather a more… View this story
    Filed in: RecordingFeatureBlogVideoStudy HallDigitalDigital Audio WorkstationsMixerProcessorSoftwareStudio

  • Friday, February 06, 2015
    live sound international
    Chris Huff 02/06/15 10:44 AM,
    I created a frog. It wasn’t intentional. Naturally, I’m not talking about a real frog, but look at the photo that opens this article. You’ll never read a mixing book that says, “Make the snare’s EQ curve look like a frog in water.” (If you do, stop immediately and back away.) Seriously, when it comes to snare mixing, the last place (literally) you want to be is behind the mixer. With that in mind, here are three primary factors I’ve… View this story
    Filed in: Live SoundFeatureStudy HallConsolesEngineerMicrophoneMixerProcessorSignalSound Reinforcement

  • Thursday, February 05, 2015
    dpa microphones
    PSW Staff 02/05/15 02:29 PM,
    British pop/rock band Level 42 recently introduced a selection of DPA Microphones into its live sound gear, including the company’s d:facto vocal mics, d:vote 4099 instrument mics for brass and toms, and a d:dicate 4011 cardioid recording mic for ride cymbal. A mainstay of the British music scene for over three decades, the band is currently undergoing an audio transition that has seen them switch to DPA mics and introduce in-ear monitors so they can do away with a “stage… View this story
    Filed in: Live SoundNewsMicrophoneSound ReinforcementStage

  • Monday, January 26, 2015
    akg
    PSW Staff 01/26/15 02:13 PM,
    The new Harman’s AKG Drum Set Session I is a microphone starter kit designed to capture the sound of a complete drum set, combining an array of condenser and dynamic microphones plus accessories. Containing seven high-performance microphones from the Perception Live series, the Drum Set Session I contains one AKG P2 bass drum microphone, two P17 small-diaphragm microphones for overheads and four P4 microphones for toms and snares. The set is complete with all microphone clamps and stand adapters, and… View this story
    Filed in: Live SoundRecordingChurch SoundNewsProductMicrophoneSound ReinforcementStageStudio

  • Tuesday, January 06, 2015
    recording
    Jon Tidey 01/06/15 08:50 AM,
    This article is provided by Audio Geek Zine.   When working with a multi-miked drumkit recording, it’s important to be aware of phase issues and how to correct them. Recognizing the phase issues will take some practice, but if you go step by step, there shouldn’t be any problems. Before doing any processing or even setting levels, go through one mic at a time and check the polarity. What you’re listening for is improved punch and low end. —Starting with… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMeasurementMicrophoneProcessorSignalStudio