OT: Would this be of interest to anyone?

[BradLyons]

In talking with a colleague of mine---I had an idea pop into my head and was wondering who else might have an interest in this. I use many microphones all the time, I know what they sound like, when to use what, etc. BUT my clients often ask what it sounds like....sometimes they ask what I mean by tone, stereo separation, imaging, etc. SO I had this idea pop into my head.... I'd setup 32-channels of 192I/O with 32-channels of Focusrite ISA828 to keep everything consistent. The idea is to setup multiple sets of overhead microphones as well as multiple kick drum microphones, record them in one pass into a Pro Tools session, line all the tracks up, and make it available as a download for others to listen to..... such as if I used these overheads with this kick drum mic, what does it sound like? Does that make sense?

[crizdee]

Hi,

I think its a great idea! and would make it interesting if it was done blind? so the "listen with eyes" doesn't come into it. i bet there would be some big surprises more $ = best sound right.

Chris

[relaxo]

I'd love to hear that.

[holden]

Originally Posted by BradLyons

.... The idea is to setup multiple sets of overhead microphones as well as multiple kick drum microphones, record them in one pass into a Pro Tools session, line all the tracks up, and make it available as a download for others to listen to.....

For comparison purposes it is more important to place the mics in the same piece of air relative to the sound source as well as the room, than to crowd them together to record the same event simultaneously — In a crowd they will necessarily have different locations and lots of extra reflections from close hardware (stands & mics) causing inconsistencies from recording to recording.

It might be better to put your effort into standardizing the kick (solenoid or some mechanical procedure) so that it is consistent for each mic. Then record with each mic separately. Either that or set up a calibration mic to measure the loudness of each kick and try to get a good-footed drummer to give you a consistent set of kicks. Small inconsistencies in kick will probably matter less than small differences in mic position.

Renting a Disklavier (http://en.wikipedia.org/wiki/Disklavier) would make consistency easy.

[25ghosts]

Brad I think that is a wonderful idea. That would seriously help a lot of poeple making up their mind or getting new inspiration. Nice initiative

Reading Criz's idea of a blind test I think it would be great idea if you could make two downloads. One which is descriptive one which isn't

[BradLyons]

Thanks for the feedback and input so far. I plan on setting the mics up to the best positioning I feel is needed for the microphones so it is fair. In other words, do a real world recording of it. If this means not doing it all in one pass---I think that is okay, because the idea is to hear the results. I started a project like this awhile back of recording multiple guitar amps using re-amping via a Royer R121 and Shure SM57 with a Les Paul Standard, a Strat, and a Tele across (5) genres of music. The idea was to show how changing the guitar or amp for a style of music can be a radical change. What I wish I would have done was use multiple mics. What I think I might do is bring a few amps back in, setup several mics one after the next and record them---to answer that question as well. I love being a techie-tweaky-type :)

As to a great-footed drummer---I'M THE BEST DRUMMER THERE IS!! Oh wait, I stink---I'm not a drummer at all! LOL I'll bring in a few drummers that are VERY good. I have my own kit which is a great recording kit! It's a Premier Signia in Maple, 20" kick, 10/12/14 Toms.... My cymbals are Sabian AA but I'm going to add some Zildjians at some point as well.

[Howardk]

I am ore a fan of comparing from one pass. . . then the performance is the same, and you can A/B easily.

Along the way, as part of normal session, I often use 2 sets of overheads, or 2-3 inside kik mics, 2 mics per tom, 2-3 top mics on a snare, double up on room mics, etc. . . sometimes 2 of the same mic, just in different positions. I have never done all of the above at the same time, usually just one or another, but I've learned a lot about what mics, and positions I like by doing this and continue to do so.

My biggest battle is trying to keep the hi-hat out of everything with some drummers.

[JFreak]

Originally Posted by Howardk

My biggest battle is trying to keep the hi-hat out of everything with some drummers.

Same here. I almost always find myself asking the drummer if the hat could be set higher, away from snare and toms. For some reason, B-grade drummers "like" to keep the hat very low, making it almost impossible to separate it from the snare.

Oh, well...

[Natural Sound]

Something like this?

http://www.recording.org/ftopict-45488.html

Search that forum for similar examples.

[BradLyons]

Okay the more I think about it.....I'm going to do it in our theater through our Venue console direct to PTHD. This gives me 48-inputs of the same micpre and converter, which are fairly neutral. This also gives me plenty of space and still with controlled acoustics. My thinking is I can most certainly have several mics above the overhead on each side the way I'd typically mike a kit, plus several mics on kick, and possibly several mics on hi hat showing different miking techniques. I'll also capture this on multi-camera video which I'll drop into the timeline as well.

If any of ya'll have some input or ideas, shoot me an email directly---I'd like to make this an educational project.

Emails: [email protected] -and/or- [email protected]