EBS_freak

That’s the fault of the monitor guy, not the wedges. If set up properly, the mix from them should make the backline insignificant.

Or you could just run decent wedges along the front of the length of the stage without the hassle of all the backline spilling into the vocal mics. i think wedges get a bad press because it’s the first area where cost savings are made. A prolevel wedge usually runs at a cost similar to most pub bands complete PA. They sound awesome.

The results of the PSM200 don't surprise me. That thing should never have got to market. Tips wise, give spin fits a whirl - they last longer than the comply tips - and don't disintegrate!

Many ways!

Can't hear you. My ears are going wheeeeeeeeeeeeeeeeeeeeeeeeeee....

Well, you've got to pretend at least you know what you are doing when you are trying to get your kit over the volume of a backline of amps all running full tilt. Screw everything else! :-p

Exactly - it's odd that it's the loudest element (depending upon cymbals in use) of the kit that most drummers insist on micing as a priority... especially when a miced snare doesn't always sound the best without the wires miced...

It all depends on the sound you want and what ideas you subscribe to. Does it pick up more bass? Yup. Do you want more bass - well, maybe not. With all those lows comes a lack of control. For when that sort of thing is required, a trigger reigns supreme. Otherwise, In addition to the standard gate, eq and compressor, get on the transient designer in parallel to up the attack on the kick. Or you could run a subharmonic generator with the kick... Or if you want the tightest lowest bass, run a low sinewave that is triggered from the kickdrum gate.

I reckon you could take that down to a kick and oh with the right oh condenser coming over the drummer shoulder pointing towards the snare. I say reckon, I often do!

Kick in - mic inside the kick drum Kick out - mic outside the kickdrum One will give you the subby lows without the attack, one gives you less sub but will give you more thwack! Typically Id use a Sennheiser e901 internally and something like a D6 on the outside - although the D6 is a great one mic solution as it gives a great bass and click sound on its own (some people find the D6s sound a little too prebaked for some genres of music however). Historically the subkick would have done the same role as the kick in mic... but in itself won't give enough beater/click sound to give the kick a lot of definition.

And that's why everybody is deaf. Screw rock and roll, I say. Let the dinosaurs have that mind numblingly bad mix and non stop ringing in their ears - Cos that's dead cool. Why on earth anybody would want to go to a gig where they could hear anything portrayed in a balanced mix is beyond me. Theres a reason why the dinosaurs became extinct. I never understand why people don't embrace knowledge and technology.

Kick, Snare, Hihat! (I believe this is industry standard) my preference- Kick In, Kick Out, Snare Top, Snare Wire, Hats, Hi Rack Tom, Mid Rack Tom (if there), Floor Tom, Stage Right OH, Stage Left OH. OH1 and OH2 - that's something you defo want to clarify. The other thing about overheads is their placement. Loads of people seem surprised that they get phase issues when plonking them randomly above the kit. My preference for OH placement is equidistant from the centre of the snare in recorderman fashion ( e.g. above the snare and over the shoulder)

And that's the revelation right there!

The higher impedance will lead to them taking a bit more to drive. Interesting about the lack of low end - I thought it would be the top end that you'd notice a dip in more... or is it that they are just quite quiet all round? I suppose it may be you need a proper headphone amp to drive them to operate to the published spec?

Glare off the screen was preventing him having eye contact with drummer.

Pretty much!

It's been done before!

Yeah - not great at the moment :-/

Gosh. Your brain must have a hard life!

I quantified the impact of tone with a valve amp above. To clarify - if the volume coming out of the amp is lower, the less gets to the vocal mics. if you don't run a valve amp hard enough, you may not get the speakers working as they should and they won't give the tone that you are looking for. Likewise, if you don't run a valve amp hard enough, the tone will be very bass shy. In order to get the tone right you'll need to work the amp and speakers right -and that usually results in unfriendly volumes for a sound engineer. in terms of on stage noise rejection, mics with high off axis rejection are the obvious choice.

Clearsonic ampshield - if anybody wants one for their monkey guitarist.

They do also - spill into vocal mics. But that's the same as turning down the volume.

Modellers are so good now, I don't know what you would want to.

The tone of a valve amp changes with the volume as do the speakers. This enables the amp and speakers to be driven to the required levels without taking people's heads off.

That can be a problem. It depends on the mics that you use. Because it's being close miced it's less of an issue - more of an issue for kits.