Re the above

That’s Mark’s basement.

312 is a awesome beer originally made by Goose Island Breweries, recently bought by Budweiser or similar – there is now nat’l distribution so it’s available – look for a bright yeller package. “312”, BTW, is Chicago’s area code.

SPC1’s are pencil mic’s made byStudio Projects which I have fallen in love with for overheads. Short story long, UI was using vLDC (large diaphragm condensor) Audioi Tecnica AR404’s and loving ’em, and sometimes CAD M179’s (kinda MDC). Thing is, when ya do that it seems to kinda work best when the OH’s are the drum-kit sound, and the other mic’s become spot mic’s that help highlight the individual tubs.

That works great inna good room and/or with careful trial and error of placement, but if you get it wrong you tend to have issues with cymbal brightness and level, and then you have to futz with EQ, and room sound, and it can limit your choices of effect-processing (ex., reverbs).

I’ve gone the other way now, where the drumkit highlights the beat instead of the wash, such that the kick and the snare (typically a plate on the snare) are the majority of the sound, along with the tom spots, and the OH’s give the cymbals and room sound to taste on top, instead of starting with ’em.

It gives me more control, and allows for faster placement.

And how do I place ’em? In the ORTF pattern, I said, what was a lie; also, they are SP C4’s.
Actually, I had ’em in X-Y; see here.

I have also used ORTF, and like it just fine, but it’s a little tweakier, and XY is very easy.
Also cool is that you use one mic stand and put the mic’s on a mic bar, like this

except they are turned so the fronts meet at a 90 degree angle like this:

I take an imaginary line from the center of the snare thru the center of the kick and place ’em onnit, as stated above.

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