Connections / Drums for Model I: Difference between revisions

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== [[Presets]] ==

You '''will''' want to try the Kick Drum [[Presets]]

* 00 Flat when you are using a mixer

* 70 Kick Drum

* 71 Kick Drum, Audix D6

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* 76 Drum Overhead, Differential SM57

* 77 Drum Overhead, Differential Electret

* 00 Flat when you are using a mixer

== More Bass for the Kick Drum ==

If you want to add more low end consider getting a {{A1}}. You definitely want to read [[B1 Bass Module/Positioning]].

== Out-or-Phase Overheads and Kick Drum ==

This depicts using two Shure SM57 microphones wired [[Instruments/Drums|Out-of-Phase]]. This allows you to have two microphones "overhead" taking only one Channel, leaving another Channel free for the Kick Drum.

This depicts using two Shure SM57 microphones wired [[Instruments/Drums#Out-of-Phase Overheads|Out-of-Phase]]. This allows you to have two microphones "overhead" taking only one Channel, leaving another Channel free for the Kick Drum.

: These are not "overheads" but 57's placed below the cymbals and above the top heads of a small kit. The mics are wired out of phase, basically 2 and 3 reversed on an XLR. There's lots written about this on our forum. But the basic idea is that the pair will cancel onstage bass but pick up local instruments on the kit, in an effort to reduce rebroadcasting onstage bass from the drum mics. This way we get a stronger signal than typical overheads and cleaner bass onstage. To "mix" these, just move the mics closer to the instrument you want to emphasize. Typical setup is on either side of the snare facing the snare. Snare is everywhere and there is no need to put a mic directly on it. It's actually pretty easy to set up and adjust, moving the mics around for a good kit mix. With 3 mics and only 2 inputs on the PS1, we get a really nice amplified sound for our shows. I listened to the output of the pair recently (multitrack recordings of a recent show) and the cancelling thing really works great. Give it a try. -- see [[Instruments/Drums|Out-of-Phase]] for complete notes.

: These are not "overheads" but 57's placed below the cymbals and above the top heads of a small kit. The mics are wired out of phase, basically 2 and 3 reversed on an XLR. There's lots written about this on our forum. But the basic idea is that the pair will cancel onstage bass but pick up local instruments on the kit, in an effort to reduce rebroadcasting onstage bass from the drum mics. This way we get a stronger signal than typical overheads and cleaner bass onstage. To "mix" these, just move the mics closer to the instrument you want to emphasize. Typical setup is on either side of the snare facing the snare. Snare is everywhere and there is no need to put a mic directly on it. It's actually pretty easy to set up and adjust, moving the mics around for a good kit mix. With 3 mics and only 2 inputs on the PS1, we get a really nice amplified sound for our shows. I listened to the output of the pair recently (multitrack recordings of a recent show) and the cancelling thing really works great. Give it a try. -- see [[Instruments/Drums#Out-of-Phase Overheads|Out-of-Phase]] for complete notes.

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== Electronic (V-Drums) ==

This is as simple as it gets. Your Drum Module controls all the sound and you take the output to one Channel on your L1™. There is no particular advantage to splitting the out the Kick Drum.

[[Image:Drums01c.jpg]]

=== Roland HD-1 ===

== Percussion with Out-of-Phase Overheads ==

We are using the same approach for Out-of-Phase microphones as we discussed [[{{PAGENAME}}#Out-or-Phase Overheads and Kick Drum|above]].

[[Image:Drums01d.jpg]]

@@ Line 17: / Line 17: @@
 == [[Presets]] ==
 You '''will''' want to try the Kick Drum [[Presets]]
-* 00 Flat when you are using a mixer
 * 70 Kick Drum
 * 71 Kick Drum, Audix D6
@@ Line 26: / Line 26: @@
 * 76 Drum Overhead, Differential SM57
 * 77 Drum Overhead, Differential Electret
+* 00 Flat when you are using a mixer
+== More Bass for the Kick Drum ==
+If you want to add more low end consider getting a {{A1}}. You definitely want to read [[B1 Bass Module/Positioning]].
 == Out-or-Phase Overheads and Kick Drum ==
-This depicts using two Shure SM57 microphones wired [[Instruments/Drums|Out-of-Phase]]. This allows you to have two microphones "overhead" taking only one Channel, leaving another Channel free for the Kick Drum.
+This depicts using two Shure SM57 microphones wired [[Instruments/Drums#Out-of-Phase Overheads|Out-of-Phase]]. This allows you to have two microphones "overhead" taking only one Channel, leaving another Channel free for the Kick Drum.
-: These are not "overheads" but 57's placed below the cymbals and above the top heads of a small kit. The mics are wired out of phase, basically 2 and 3 reversed on an XLR. There's lots written about this on our forum. But the basic idea is that the pair will cancel onstage bass but pick up local instruments on the kit, in an effort to reduce rebroadcasting onstage bass from the drum mics. This way we get a stronger signal than typical overheads and cleaner bass onstage. To "mix" these, just move the mics closer to the instrument you want to emphasize. Typical setup is on either side of the snare facing the snare. Snare is everywhere and there is no need to put a mic directly on it. It's actually pretty easy to set up and adjust, moving the mics around for a good kit mix. With 3 mics and only 2 inputs on the PS1, we get a really nice amplified sound for our shows. I listened to the output of the pair recently (multitrack recordings of a recent show) and the cancelling thing really works great. Give it a try. -- see [[Instruments/Drums|Out-of-Phase]] for complete notes.
+: These are not "overheads" but 57's placed below the cymbals and above the top heads of a small kit. The mics are wired out of phase, basically 2 and 3 reversed on an XLR. There's lots written about this on our forum. But the basic idea is that the pair will cancel onstage bass but pick up local instruments on the kit, in an effort to reduce rebroadcasting onstage bass from the drum mics. This way we get a stronger signal than typical overheads and cleaner bass onstage. To "mix" these, just move the mics closer to the instrument you want to emphasize. Typical setup is on either side of the snare facing the snare. Snare is everywhere and there is no need to put a mic directly on it. It's actually pretty easy to set up and adjust, moving the mics around for a good kit mix. With 3 mics and only 2 inputs on the PS1, we get a really nice amplified sound for our shows. I listened to the output of the pair recently (multitrack recordings of a recent show) and the cancelling thing really works great. Give it a try. -- see [[Instruments/Drums#Out-of-Phase Overheads|Out-of-Phase]] for complete notes.
@@ Line 44: / Line 49: @@
 == Electronic (V-Drums) ==
+This is as simple as it gets. Your Drum Module controls all the sound and you take the output to one Channel on your L1&trade;. There is no particular advantage to splitting the out the Kick Drum.
 [[Image:Drums01c.jpg]]
+=== Roland HD-1 ===
+{{:Roland HD-1}}
 == Percussion with Out-of-Phase Overheads ==
+We are using the same approach for Out-of-Phase microphones as we discussed [[{{PAGENAME}}#Out-or-Phase Overheads and Kick Drum|above]].
 [[Image:Drums01d.jpg]]