All the microphones in the room were recorded simultaneously for each drumset position. This provides the ability to A/B different mono room mike locations during an identical performance.
We tried to remove as many variables as possible. By using four identical mikes (DPA 4006, B&K 4006), we removed any impact the microphone would have during an A/B listening.
Of course, with each different drum set location, there is a different performance. To minimize this impact, we had the drummer play to a metronome and we tried to get the same level of intensity for each take.
To futher ensure more consistent performances and make A/B listening comparisons easier, the kit was reduced to kick, snare, and hi hat.
Having the drummer play eight bars of time gives an average performance for which to judge sound quality.
A pairof coincident overheads followed the drum set to each position. This lets the listener hearhow the drums themselves sound at the location.
In addition to the four mono room mikes, three pairs of stereo room mikes were set up. Again, these mikes were placed in practical locations. This gives the listener the ability to pick any location and hear room mikes in addition to the overheads to give a more complete picture.
The side wall doors (3 per side) were recorded in two positions:
The drums were tracked with API Vision 212L preamplifiers direct into Nuendo through Apogee converters.
(DPA and B&K) as mono room
CMC6 with MK21 sub-cardioid
(2) Neumann TLM103 as spaced pair
(2) Neumann M147 as spaced pair
(2) Neumann U89 as spaced pair
Why these particular microphone locations?
Mono Room Mikes (R1 - R4)