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Jeff Macdonald

    I know your pain with other peoples kits. I think for me it comes down to many drummers misunderstandings or misconceptions about tuning, or head choice for music styles. I have been walking around for a couple evenings with a floor tom hitting it and listening, my better half thinks I'm nuts. There is also, in my opinion nothing more difficult than recording low quality cymbals, but I am not a huge fan of guys that don't hit well playing my hand hammered stuff.

    For mics I like 57's on the snare top and bottom, Oktava mk-012s on the hat and ride, I go between Advanced Audio CM-414s, CM-12SEs and CM-87s on the OH depending on the day. I have a pair of cheap Chinese ribbons that look like 121's I gutted (replaced the ribbons and transformers) I use for stereo rooms that I am really enjoying. I am also falling in love with PZMs for room mics in weird spots like on the ceiling, right in front of the kit - that has been some fun experimentation. I am an Audix guy for toms D2, D4, D6 as they get lower, I have 421s but I find they always need way more eq, and they are very large and harder to place. On the kick I have been loving a Beta 52 through an API pre into a DBX 160X, but if I, or the client wants a basketball then the D112 comes out. I don't like the Audix D6 too much on anything other than metal and hardrock, but I find the 52 does that just fine. I also have a 10" Subwoofer I like to run as a subkick but find myself enjoying LDCs out front a bit more lately. My favourite mic position though right now is a 57 pointed at the shell of the snare about 3" back centred between the rack and floor tom. I slightly modified Moses Schneiders 'wurst' mic technique. It's an amazingly full sound that loves compression.

    I have a couple of old saltshaker, telephone handsets and PA mics that are in the 'To-do' bin to get fixed up to act as weird room mics but I am spending far too much time working on the room right now to fix them up sadly.