Live drummer willing to jam.

[Beanzie]

Hey, I have a Roland V-Tour Electronic drum kit hooked up. Anyone who wants to jam with some real drums instead of a drum machine give me a holler.


AIM: stopthief16

username: beanzie

:)

[lightman]

er, we have real drummers now, not jsut v-drums :)

[Beanzie]

Yeah, the V-Drums are just a hell of a lot easier to hook up than my acoustic kit to my computer.

[bpj001]

The musician makes the difference and not what they are using. A bad drummer is going to sound bad on an acoustic or sample set just as a good drummer will sound good. I venture to say most wouldn't know what was being used if you weren't told.

V-drums or a similar format is not the same as a drum machine. You still need to know how to drum and use sticks doing it. A drummer can follow changes, drum at different velocities, and add style. If you are using mesh pads you can do flams, drags, buzz rolls, etc just as you can with an acoustic set.

In closing I would just like to say V-drums rock and I make no excuses for using them.

If you have to ask then we fooled you.

[synthany]

anyone who sets up microphones on conventional drum kit to jam online, please tell about your techniques.

or feel free to contact me offlist (cpayne@ucsc.edu), but I think it would be good to have it here.

synthia

[mvollrath]

For a long time I did my drums with two mics (overhead and kick), which was not satifactory. Then three mics in mono, which is just fine for ninjam. Now I use four in stereo. Here's what I use now.

Overhead 1: An at3031 sd condenser, about 6ft. from the floor, between the hi-hat and left (drummer's left) crash cymbal, pointed mostly straight down, a little toward the floor tom, panned 100% left, 70hz highpassed

Overhead 2: An at3031 sd condenser, about 6ft. from the floor, between the ride and right crash cymbal, pointed mostly straight down, a little toward the snare, panned 100% right, 70hz highpassed

Snare mic: audix i5 dynamic, about two inches above the rim of the snare, pointed at the middle of the snare, panned center, 70hz highpassed

Kick mic: shure B52 dynamic, directly in the middle of the kick drum (through the port) pointed at the backside of where the beater hits, panned center, mids all the way down

Running into a yamaha mg10/2 mixer, then a couple cables across the room to a presonus firebox firewire interface.

Ye olde Mono overhead: studio projects B1 ld condenser, centered above the bass drum about 6ft from the floor, pointed down between the snare and bass drum, 70hz highpassed

In software, I use 2:1 compression on the drum mix. If I had outboard compressors, I would definitely use them on the snare and kick.

Sometimes I add shure sm57 dynamics to capture each tom, technique is similar to the snare mic. Otherwise, they come in fine through the overheads.

Ideally I would have an interface with more inputs (the presonus firepod, for example) and skip the outboard mixer, then set up a few presets in software for tonal variation. For example I'd love to have a gated reverb on the snare for 80's style ;)

So that's how I do my drums. Every room will require different technique, but for ninjam I would use at least three mics no matter what to get the detail needed for snare and kick. The technique I described is closer to sound reinforcement than recording, so forget everything I said if you're going to the studio.