Thursday night is normally the night I get together with Bill and Clete to work on the mixing room in Clete's studio. Normally it presents us with an opportunity to cuss at old gear, the OS and/or ProTools. And drink beer. Along with hearing how different gear works together (or against each other) to contribute to the quality of the sound, it has provided me with invaluable time to get "ears on" experience on a regular basis in a room with a guy who's made a living as an audio engineer for 30+ years.
Last night's topic was "Mic choices and placement for quality drum recording". Ear plugs were advisable. Despite all the hoopla surrounding some of the more popular "kick drum mics" on the market, Clete prefers the venerable SM57 as part of a minimalist approach to miking the kit. He uses the overhead mics as the primary resource, simply accentuating the sound with mics on a few individual pieces, kick, snare, and high hat. By the time we were done tweaking the mix, everything was sounding wonderful and we had left the high hat's mic out of the mix completely. I am sure that having a high quality stereo pair for the overheads makes a big difference.
I think I am craving a croissant, and alas, there are none about the house.
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