Old 07-11-2017, 02:24 AM   #1
pipelineaudio
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Default 100 dollar Pyle drum mic sets

Not bad at all! Loved the tom, snare and overheads, not quite the kick so much, but it sure works. Definitely not a barrier to getting good drum tracks!

https://youtu.be/jrV7MziGu6s
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Old 07-12-2017, 12:47 AM   #2
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Another video, this time with a real drummer

https://youtu.be/Y8B0CXMw1gA
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Old 07-12-2017, 03:44 AM   #3
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yepp,not too bad

sorry couldn't resist
http://www.bobobo.de/reaper/pipeline/
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Old 07-12-2017, 04:05 AM   #4
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Whoa! How did you do that? I want a animated gif like that
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Old 07-12-2017, 07:51 AM   #5
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Any processing?

Undeniably a great sound for $100!
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Old 07-12-2017, 08:26 AM   #6
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Quote:
Originally Posted by pipelineaudio View Post
Whoa! How did you do that? I want a animated gif like that
emm .. let me see .. if i remember it correct i took a software named
reaper , loaded your video (after downloading from youtube, psst ..
safefromnethelper helped with that) into it and after a cutting,
pushing and pulling and whatever i got a result, rendered it as video and
there we are.
You need the rpp with sourcevideo and gif? (i converted the video to a
gif as the gif that reaper can render is not good enough for my needs)


i updated http://www.bobobo.de/reaper/pipeline/
and here is the gif itself
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Old 07-12-2017, 09:43 AM   #7
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Quote:
Originally Posted by Judders View Post
Any processing?

Undeniably a great sound for $100!
ReaGate, ReaComp and ReaEQ
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Old 07-12-2017, 09:47 AM   #8
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Quote:
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ReaGate, ReaComp and ReaEQ
I've heard mic setups worth 10 times as much sound worse, but I suspect that's your expertise rather than mic quality
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Old 07-12-2017, 09:50 AM   #9
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Quote:
Originally Posted by bobobo View Post

i updated http://www.bobobo.de/reaper/pipeline/
and here is the gif itself
Ahh thank you!
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Old 07-13-2017, 10:09 PM   #10
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I was handling the live audio for a low budget monthly live music series last year in the city library system. The mics they had were mostly Pyles. I had a lot of occasions to use them with the whole gamut of instruments, both for the house and in recording, and those cheap buggers were a pleasant surprise. I can't remember what model they were but they were ordered by non-audio pencil pushers so I can guarantee they were at least close to the cheapest available.

One caveat was the terrible handling noise (maybe of that particular model). And they had a cheesy, lightweight feel that didn't inspire confidence that they would survive a fall off a stand. But they sounded pretty darn ok.
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Old 07-14-2017, 01:07 AM   #11
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I think one of the issues with the kick mic may be that it does have some large amounts of handling noise...I filled it with expanding foam today, we shall see, when the kids are done practicing Ill swap the kick mic back out for the pyle
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Old 07-14-2017, 02:00 AM   #12
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I like the sound. Gear is not the reason anymore why one can't record great tunes. As I'm used to say, the real magic happens in front of the mic.
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yepp,not too bad

sorry couldn't resist
http://www.bobobo.de/reaper/pipeline/
Funny That reminds me on this https://www.youtube.com/watch?v=JzqumbhfxRo
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Old 07-14-2017, 10:44 PM   #13
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The kick mic is incapable of gating but a D112 with the Pyle kit is fine.
I actually prefer cheaper kit mics live since the difference between them or Earthworks can't be heard in a live mix.
Don't ever get their rackmounted power conditioner.
They start shorting out after a few months.

Funny thing about mics.
There's 3 different diaphragm makers in the world.
All 3 in China, all mics use the same diaphragms.
Only real difference is certain Electronics.
Recently bought a few Shure KSM8s because of a radical Dual diaphragm design.
Fantastic broadcast quality.
A little pricey but definitely hear a difference from Heil PRs Sennheiser 57s 58s and these.
Other mics sound a little brighter a little duller, these just sound mastered.

But no difference on Pyles or Earthworks other than their kick or the price...
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Old 07-15-2017, 12:08 AM   #14
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Quote:
Only real difference is certain Electronics.
That's not the full story. The design of the capsule has a large impact on the tone and pickup patterns too.
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Old 07-15-2017, 12:36 AM   #15
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What do you mean the kick isnt capable of gating? Its gated there.

Maybe the handling noise might make it harder to gate than the D112, but it gates fine

The real beauty was the ease of gating the toms and snare, though who knows how well it would work in regular amatuer drummer hi hat and cymbal position. Not that the 421 works better there, its worse. Those sennheiser e604's do ok there though
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Old 07-21-2017, 06:00 PM   #16
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Simply put- gear doesn't matter. The guy/gal's knowledge of how to use the gear is the only thing making a difference here.
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Old 07-21-2017, 07:51 PM   #17
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What do you mean the kick isnt capable of gating? Its gated there.

Maybe the handling noise might make it harder to gate than the D112, but it gates fine
Lower threshold for gate from electronic corner cutting.
Still workable as the audio demonstrates.
I'm just picky on kicks. I want the gate abrupt but like longer release segments.
One of the sounds that makes free style underground rap so effective is how the longer release on 808 style kicks is used.
Has that powerful sounding kick from the 80s when drummers started dragging along SP-12 Samplers to trigger perfectly recorded kicks.

But not knocking the Pyles.
I'd just take the money saved from not buying an Earthworks or AKG and get a higher threshold longer decay gated mic.

Personal taste.
I've only worked with one drummer who wasn't triggering in the last 5 years.
But he had a 30 inch kick with an AKG C414 and a Symetrix Expander/Gate.
Plus 6'6" and 360 lbs. to smash drum heads.
They call him Earthquake....
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Old 07-21-2017, 08:06 PM   #18
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That's not the full story. The design of the capsule has a large impact on the tone and pickup patterns too.
True but Channel EQ compensates that.
I've got an ancient brass capsule 1978 AKG some folks would pay 2000 bucks for.
I never use it as I'm eventually going to sell it and spare parts are extinct.
But I found it's sound so damn boomy.....

I like close mic for everything.
No fancy patterns, etc.
I can create width and depth with Reverb Algos and wetness.
It's like Pianoteqs rather good mic placement effect.
It works really well but I always end up stuffing 2 mics right on the virtual harp.
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Old 07-22-2017, 08:56 AM   #19
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Simply put- gear doesn't matter. The guy/gal's knowledge of how to use the gear is the only thing making a difference here.
Well, it does matter, it just doesn't matter that you have to spend as much money to mic up a kit as people with money to spare do and still get a good sound. Nearly all kick mics I've come across in drum mic sets have a very specific stamp that you generally can't make sound much different than that same annoying sound made somewhat less annoying. If knowledge of how to use the gear includes taking them off and putting on better sounding mics, then I agree : ) Cheap mics can be good but they can sure be shitty too. And by shitty I don't mean poor specs I mean not pleasant sounding. And if someone wants a really good recording I'm not going to work with annoying sounding mics unless there are no other options.

Anyone can make chicken salad, but the one with good knowledge, when given a shitty tasting chicken, can only make the best chicken salad they under the circumstances. It won't be a great chicken salad. Maybe the goal isn't even a great chicken salad, but it's best not to be limited to that single recipe that's going to work with these ingredients.

Which is not to say I don't like using cheap for what they are, just that I disagree that it doesn't matter what they are.
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Old 07-22-2017, 09:17 AM   #20
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If knowledge of how to use the gear includes taking them off and putting on better sounding mics, then I agree : )
Hehe, so true. I have about 40 mics at this point, roughly 10 of which fall into the never seem to work as good as one of the other 30 category. Those aren't in that category per price FWIW, some are more pricey, just supporting your salient point.

IOW, having mics to choose from is really what tells the tale by noticing over time which ones get used the most with the least work. As far as the ones in this thread, I know nothing about them and never will unless I mic a kit and use them in a mix because shootouts and internet samples can only tell you that the mic isn't defective. I'm sure those mics are OK but pipe is in his studio, I'm not, they aren't in a mix/context either, so I can't possibly know much about them.
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Old 07-22-2017, 12:04 PM   #21
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Where did you pay $100 for this? I only see them for $130?

For $100 I figure I could just write up a blog post about them... but that extra $30?
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Old 07-22-2017, 10:08 PM   #22
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True but Channel EQ compensates that.
I've got an ancient brass capsule 1978 AKG some folks would pay 2000 bucks for.
I never use it as I'm eventually going to sell it and spare parts are extinct.
But I found it's sound so damn boomy.....

I like close mic for everything.
No fancy patterns, etc.
I can create width and depth with Reverb Algos and wetness.
It's like Pianoteqs rather good mic placement effect.
It works really well but I always end up stuffing 2 mics right on the virtual harp.
Well, that still doesn't make it any more true that it's just electronics that make the difference. Pickup patterns, tone, handling noise. And frequency response varies depending on how far off axis sounds are differently with different mics. If you only close mic, with cardioid mics it might not matter to you so much, but it doesn't change the facts.

You can't just put two physically different mics with different patterns in a close mic setup and expect them to sound the same. Some will pick up more sounds off axis than others, and have a different tone varying with angle.

You can't just EQ that out.
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Old 07-24-2017, 12:47 PM   #23
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If it's an overhead mic of course not.

But I can EQ Close mic on every mic we use to overcome any capsule.
Even that boomy ass AKG I mentioned.

I should clarify that it's Channel Filters pre fader first, then EQ.
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