Depends a lot on where you place the mic. The drummer hears one thing, the audience another. And the mic can sometimes give a 3rd perspective. And if you got it in a room? The pedals give off sound, the floor makes sound because the pedal transfers motional energy from the actual kick. It also does depend on the type of kick drum, what size it is, and what type, amount and placement of cloth they use to muffle it.
I agree that there's not a whole lot of stuff happening over 220hz, but it's there, and filtering it out does reduce some of the "live" feeling.
I agree that there's not a whole lot of stuff happening over 220hz, but it's there, and filtering it out does reduce some of the "live" feeling.
It's very pronounced now. Check the Audix D6 datasheet for an idea of it. It's a good way of getting a particular kick drum sound, but if I want a frequency response like that, I'll EQ it there myself and start with something flat.
FWIW, I have a spectral analysis of a live kick drum mic'd at the port (with a large-diaphragm condenser) that shows 16Hz is only 3dB behind 32Hz.
However, once you include dipole losses etc and get the sound into the room, the VLF will fall off somewhat.
Chris
The bands I worked with usually had a box of nothing but 57s & 58s. Far from flat of course, but at least they all had that same damned "presence peak," which of course is just a "peak" when all of the mikes are doing it at once. At least this made it somewhat easy to compensate for with the house EQ.
I think the biggest reason drummers complain about sound reproduction through stereo, is because they have much more high freq sound from their natural position, than when the mike is in the port and the low freq resonant behaviour is more pronounced than what they hear.
Inside the drum sounds vastly different compared to in the drummers seat, and again different from what a person in another position in the room would hear if not amplified in any way.
Inside the drum sounds vastly different compared to in the drummers seat, and again different from what a person in another position in the room would hear if not amplified in any way.
Some symphony halls have come to grief when egotistical conductors have demanded that the sound to THEIR ears should be the criterion rather than to the audience.
BTW, the recent group of posts are strange. For PA use, the person at the sound board has their concept of what it should sound like at their station. Maybe that is just "more of the same" and they manage the system accordingly.
But for recordings, purely a question of what the production team thinks should be on the output delivered to you based on a grab-bag of sound pick-ups and board modifications. It's their judgment call, not some fantasy notion of a mad technologist sitting in Row H holding a pair of mikes near their ears.
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It's all a creation. The Front of House engineer works toward a sound he likes for a live show, the mixing and mastering engineers do the same for a recording. The live engineer has a lot more obstacles in his path, but at least he gets to hear and adjust the actual end product in real time.
Here is one more recording that I made on my backyard, with the same microphones & recorder:
http://wavebourn.com/music/fireworks.wav
http://wavebourn.com/music/fireworks.wav
You are welcome! It was a demo to show that no HPF was used on helicopter & rain. The same setup.
Testing 3 sections of Wavebourn cardioid bass arrays are ready. - YouTube
Thanks Wavebourn. And Pano is absolutely right. Here's the RTA. (The peak at 200 Hz might be clipped a few dB.)
While the Danley recordings are relatively heavier in the bass end, this firecracker is pretty much a Dirac pulse or a square wave. Really sounds swell on my 12 Hz 17-foot pipe.
B.
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I meant clipping in conducting my RTA, not your WAV file, as you say.
BTW, I'm all digital and I have some rudimentary grasp of dots-and-dashes. But I often see the overload lamps flashing on my DSP and hear the results. So I believe that real-world digital devices can be operated in a way that they do run out of headroom, whatever the theory may say to the contrary.
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