Slightly off center and almost touching the grill is pretty standard placement for micing a cabinet, I think! I usually try to make a tangent line between the 57’s capsule and the cone of the speaker.
I’m right there with you about the B52 on a kick drum — that’s definitely my preference too unless the kick drum doesn’t have a port, in which case I usually go for a D112.
One could mic an entire band using just 58s and 57s, if push came to shove. Live sound can be a weird thing lol
I miced up a drummer for home recording using cheap Fender conference mics that came with the fender PA. It’s all she had. It technically worked but I ended up having to overlay the kick and snare with samples in the DAW to make it sound decent. I’m the sound and recording guy for a few local bands as I’m their only free option (I’m in them). One of these days I swear we are going to have something worth “real” recording and use a studio. Until then, I improve slightly every time I work through these things.
Absolutely nothing wrong with supplementing or replacing drums with samples! I have a friend who’s a very accomplished engineer and musician, and they do it for pretty much every project.
Weird microphone tricks (e.g. a 57 on a kick drum) are just stopgap solutions when there are no other options, kinda like replacing a bad kick drum sound — the most important part is to trust your ears and have fun!
Slightly off center and almost touching the grill is pretty standard placement for micing a cabinet, I think! I usually try to make a tangent line between the 57’s capsule and the cone of the speaker.
I’m right there with you about the B52 on a kick drum — that’s definitely my preference too unless the kick drum doesn’t have a port, in which case I usually go for a D112.
One could mic an entire band using just 58s and 57s, if push came to shove. Live sound can be a weird thing lol
I miced up a drummer for home recording using cheap Fender conference mics that came with the fender PA. It’s all she had. It technically worked but I ended up having to overlay the kick and snare with samples in the DAW to make it sound decent. I’m the sound and recording guy for a few local bands as I’m their only free option (I’m in them). One of these days I swear we are going to have something worth “real” recording and use a studio. Until then, I improve slightly every time I work through these things.
Absolutely nothing wrong with supplementing or replacing drums with samples! I have a friend who’s a very accomplished engineer and musician, and they do it for pretty much every project.
Weird microphone tricks (e.g. a 57 on a kick drum) are just stopgap solutions when there are no other options, kinda like replacing a bad kick drum sound — the most important part is to trust your ears and have fun!