Instruments / Drums: Difference between revisions
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[[Image:GretchDrums.gif]][[Image:Percussion.gif]][[Image:TrapKat.gif]][[Image:VDrums.gif]] | [[Image:GretchDrums.gif]][[Image:Percussion.gif]][[Image:TrapKat.gif]][[Image:VDrums.gif]] | ||
{{:Connections / Drums for Model I}} | |||
== Out-of-Phase Overheads == | == Out-of-Phase Overheads == | ||
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Wiring the the two mics out of phase creates essentially a "dipole". Everything that is in the middle (i.e. equal distance) between the two microphones will get equally but out-of-phase so it cancels when the two microphone signals are summed together. In essence it creates a "blind spot" for the microphones for whatever is right in the middle plane. For the drums, that's mainly the kick (as Larry pointed out) and also the drummer (when he/she is hemming and hawing, squeaking with the chair, yelling about or in general having a grand old time). | Wiring the the two mics out of phase creates essentially a "dipole". Everything that is in the middle (i.e. equal distance) between the two microphones will get equally but out-of-phase so it cancels when the two microphone signals are summed together. In essence it creates a "blind spot" for the microphones for whatever is right in the middle plane. For the drums, that's mainly the kick (as Larry pointed out) and also the drummer (when he/she is hemming and hawing, squeaking with the chair, yelling about or in general having a grand old time). | ||
Another nice trick is to place the L1 that gets the mic signal somewhere the middle plane of the microphones. This drastically reduces potential for feedback and unwanted regeneration. | Another nice trick is to place the L1 that gets the mic signal somewhere in the middle plane of the microphones. This drastically reduces potential for feedback and unwanted regeneration. | ||
Sound sources that are significantly closer to any one of the microphones are not much affected by the whole procedure. | Sound sources that are significantly closer to any one of the microphones are not much affected by the whole procedure. | ||
[http://bose.infopop.cc/eve/forums/a/tpc/f/3976055944/m/1441055631?r=1441055631#1441055631 the original discussion] ← is highly recommended. | [http://bose.infopop.cc/eve/forums/a/tpc/f/3976055944/m/1441055631?r=1441055631#1441055631 the original discussion] ← is highly recommended. | ||
=== Sources for the Cables === | |||
Hilmar-at-Bose talks about buying an out-of-phase adapter.<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/8566055944/m/2711064151?r=2721044351#2721044351 Hilmar-at-Bose talks about buying an out-of-phase adapter]</ref> | |||
The Y-adapters are pretty rare, I don't think you can buy them on line. You can buy an ordinary 2-female/1-male XLR Y adapter like [http://www.audiopile.net/products/Mic_Instr_Cables/MP_Adaptor_Cbls/Two-fers/YFMM_and_YMFF/YFMM_and_YMFF_cutsheet.asp YMFF] type | |||
[[Image:YFMM_a2.jpg|200px|Y-Female to Male:Male]] | |||
and put an [http://www.audiopile.net/products/Adaptors_Connectors/Adaptors/XLR_Barrel/adpt_xlrbarrel_CA-301/CA-301_cutsheet.asp XLR] phase inverter on one of the female ends. | |||
[[Image:CA-301_male_200w.jpg|200px|XLR Phase Inverter]] | |||
=== Do it yourself Phase Reversal === | |||
You can buy or make an ordinary 2-female/1-male XLR Y adapter like [http://www.audiopile.net/products/Mic_Instr_Cables/MP_Adaptor_Cbls/Two-fers/YFMM_and_YMFF/YFMM_and_YMFF_cutsheet.asp YMFF] type | |||
[[Image:YFMM_a2.jpg|200px|Y-Female to Male:Male]] | |||
You will need to swap the wires on 2 and 3 on one of the ends that goes to a microphone. | |||
[[Image:PinOutXLRFemale.gif]] | |||
=== Out of Phase Condenser Microphones - Not Recommended === | === Out of Phase Condenser Microphones - Not Recommended === | ||
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I would NOT recommend the out-of-phase Y adapter (or any kind of Y-adapter for that matter) with condenser mics. These mics have build in preamplifiers and connecting the outputs directly will present the mics with the wrong input impedance. | I would NOT recommend the out-of-phase Y adapter (or any kind of Y-adapter for that matter) with condenser mics. These mics have build in preamplifiers and connecting the outputs directly will present the mics with the wrong input impedance. | ||
Again, I would only recommend the adapter for dynamic microphones (like for example a Shure SM57). If you want to use KSM109s (which are nice microphones), you may have to use a little mini-mixer to combine the microphone signals. You can still use the XLR phase inverter on one channel to get the cancellation effect. The 109s should work for near field as well as for overhead. For near-field you might have to engage the -15 dB pad on the microphones. | |||
== Overhead Condensers == | |||
MikeZ-at-Bose suggested: | |||
:The C1000's are great mics. With L1's the way to do overheads is to place the overhead mic stand *behind* the drummer, with the mics pointing slightly toward the audience. Its sort of backwards from how its usually done, but it works really well. You will not need the para EQ if you set the condensers in this way. | |||
Source: [http://bose.infopop.cc/eve/forums/a/tpc/f/301107819/m/7841094755?r=8921089755#8921089755 MikeZ-at-Bose talking about micing Drums] | |||
<noinclude> | |||
== Using the {{T1}} Kick Gate == | |||
{{:T1 ToneMatch® Audio Engine / KickGate}} | |||
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[[Category:Drums]] | |||
[[Category:Instrument]] | |||
[[ | [[Category:Phase]] | ||
<references/> | <references/> | ||
</noinclude> | |||