Mics, & mic mounting/placement??

[Whopbamboom]

I will soon need to mic up my conga's, as I have already been attempting to play them in a live setting (everyone else is mic'd up, but not me...)

I am aware of the stuff that comes up by using the search feature here, and I am aware of several different mics and mic mounts, but I'd like to hear from you experienced congueros in a thread here....

1) What mics are you using (and for which drums)?
2) What are you using to mount the mics?
3) Is there a particular way that you are PLACING each mic in relation to the drum heads?

[CongaTick]

Boom,

Samson 3 drum, tom kit with rim clips. They work well and are huge hand=savers. With a sound mixer/tech who isn't bashful they work beautifully when angled at about 45 degrees just inside the rim. However the clips are plastic crap and designed for standard rim kit toms, so placement on comfort curve requires a bit of jiggling resulting-- if not careful-- in breakage.

Attachment: http://mycongaplace.com/forum/eng/uploa ... 531-CT.JPG

[Whopbamboom]

Thanks!

What's the # on those mics?

Anyone else?

[CongaTick]

This is the best price I've seen on these. Think I paid close to $100.

http://www.zzounds.com/item--SAM3KIT

[CongaTick]

...and by the way, though I'm extremely happy with these 3 units, here are better qualified audio pros in the wings who can give you solid audio recommendations for other, perhpas better mics, so be patient.

[pidoca]

G'day.

I personally use CAD mics with gibraltar rim clamps.

Mics:

Shure 57's are great and not too expensive. they have been used in millions of recording and live performances. They were initially intended as a vocal mic, but have been used for virtually every instrument known to man. and then some. Great work horse.

There are other brands and all of them have specific mics for congas, percussion and drums. If you can stay away from condenser mics. Do a search on Harmony Central for mics and you will finds heaps of reviews etc...

Clamps:
I started by using mic stands which are excellent and provide good support and no vibrations. But they are more to carry around. Then I tried the LP claw, a great invention but does not provide good vibration isolation as it is attached to the rim of the conga, timbales etc..

Then I came across the Gibraltar rim clamp. A little larger than the LP. What I particularly like about the Gibraltar is a little rubber gromet that dampens the vibration. Little extra touch makes all the difference.

Mic Position:
if using one mic per conga - four fingers from the head and pointed four fingers in. Or about 2 inches. This gives a good balance for the slap and tone. Moving the mic a little more away or a little more into the conga will give different results, not that much different though. More specifically if you are recording or want a slightly different sound. The best thing to do is to get to know your sound guy and get there early, help him out, and he will help you to get the best sound possible.

one mic per 2 congas - same sort of deal but you obviously have to share. So you place the mic a little higher and a a little further back.

other mics techniques have been used; under the hole, inside the drum etc... all a bit gimmicky and not needed.

REMEMBER
The sound comes from you, not the mic or the drum. Let your inner voice speak, and use technology to make it louder not better.

No mic or stand or conga will ever replace your inner voice and what you have to say. They are only tools.

If you go over to www.cabritamusic.com
I have a little essay on mics and recording. May be of help.
Pidoca

[Tonio]

Good suggestions by Pidoca,
to add my 2 centavos:
for live salsa/progressive modern big band stuff : "in your face" sounds Sm 57, Senn 421, Audix D2 or D3, Ev 468, Beyerdynamic M201's

Better for close capture"punch" with some body by getting close. Go about 3 to 6 inches above the head angled about 45 degrees if one mic per drum, if only 1 mic per 2 drums place in between teh two and angle about 45 degrees but alittle higher about 6 to 12 inches above.

for live latin jazz/forklorico small ensemble stuff: Sm81. At 3035, 4041 Rode NT4 or a decent small diaphram condensor. thers a whole miriad of mics available, so budget willing. place about 10 to 14 inches or so above and angle about 30 - 45 degrees,

Better for ambience and fuller body tone , yet detailed for slaps, heel/toe rolls etc.

In the studio: nuther topic.

Stands /clips whatever works to place the mic where you want it.

LP claws are nice and compact, but gives you minumum reach , so a stand may be needed- source(sound) dependant.
If you have mics perc on a stand, you can use the claw possibly for farther distance set ups.

T



Edited By Tonio on 1181875956

[Whopbamboom]

Thanks so much for the info!

Regarding the Shure SM57's... those are a cardioid dynamic mic (more resistant to leakage than the Beta). The Shure Beta 57A's are a supercardioid dynamic mic (and a little more sensitive, but less resistant to leakage). Which would be the better choice between these two for live performance with amplified band?

I plan on using one mic per drum, if possible. But let me know if this matters, or if the choice would change with one mic per every two drums.



Edited By Whopbamboom on 1181934781

[Tonio]

Supercardiod would be better for single mic per drum, so
the BETA 57 may be a better bet. But in a pinch the Sm57 will also work.
Supercardiod has more of an upper mids push so, you probably get less low end . You may need to get closer to the skin for bass proximity effect.

T

[Tonio]

Supercardiod would be better for single mic per drum, so
the BETA 57 may be a better bet. But in a pinch the Sm57 will also work.
Supercardiod has more of an upper mids push so, you probably get less low end . You may need to get closer to the skin for bass proximity effect. Or you can cut some of the high end to bring out the low end with eq settings on the mixer/pa system. You may need to raise the trim or gain to bring the level up.
Whatever works.

T