You’re welcome, Robert! Really wanted to go all out with guests for this one -Miami

Damn... you right... -Miami’s

There’s a lot more in store! Thanks for being here -Miami

Thanks Louis! I’ll keep that in mind for next time! -Miami

Happy I could make it a reality! -Miami

Glad you enjoyed it Mac! I had a lot of fun doing this one -Miami

@@joeymusic I see Miami, I click

Ahh I’m sorry! I should have thought about that. I’ll keep them in mind for the future -Miami

@@joeymusic no worries man! I bet that the snare video will be even better! 🔥

Glad you enjoyed it. I’ll try to keep the series going with as many guests as I can! -Miami

@@joeymusic great 👍👌

Thanks to you

Of course, anytime! -Miami

That’s a smart approach for sure. The 91 pairs nice with the 52 as well -Miami

Great value all round 👌

The d6 does wonders for simplicity -Miami

If it's less aggressive rock/indie music where you don't NEED a ton of attack from the kick, then you'll usually be fine just putting a mic on the reso head. Making sure to roll off the low end around 50/60hz, cut out around 300 - 500 depending on need. If you want to add attack, then put a light bump in the 4-5k. Don't go too aggressive with this or you risk getting too much bleed from the rest of the kit. If you have the mics/inputs available, you can mic the batter side of the kick drum as well. You can sneak a 57 (or something similar) around the kick and point it toward the beater, then blend the 2. Make sure to check for phase alignment with that of course. If you can't add the mic to the front of the batter side of the kick, but still need more attack, try having the drummer tune the reso head up a little bit, this'll give the you more usable frequencies to work with to find one that cuts through. Again, the typical roll off of sub frequencies below 50 or 60 is helpful, and a cut around 300 - 500 to taste, but with the reso head tuned up that cut of the mids will almost feel like there's a boost to the attack by focusing out unpleasant sounds. Still need more attack, then just mic the batter side of the kick, and don't bother putting a mic on the reso side. It's uncommon, but dangit, it works. You'll need to get creative with the EQ through, because you'll have A LOT of attack to work with. haha.

@@patrickfouhy9102 legend, thanks for this. I did try this once with great results then every time I've tried since it hasn't been as successful. Could have been phase cancellation or just bad mic placement but I'll definitely give it another go. Cheers

@@Furoraband Okay, so I got to thinking about this even more and I went to my studio and started messing around with exploring new ways to mic a kick. My main kick has a non ported reso head because I have a D6 mounted inside. So I did some experimenting, and I think this'll help you. For this, I didn't use the internal mic, just mics on the outside of the drum. First thing, forget about putting a mic on the head of the drum, it sounds crazy I know, instead put the mic pointing directly at the hoop. To understand what I'm saying, imagine you're standing in front of the kick drum, you point the mic directly down toward the floor, but position it so it's essentially pointing at the hoop of the drum about an inch away. Rotate the mic around the drum as needed to fit around the other drums, I found that putting it at 12:00, or 9:00 or 3:00 tended to help the most with bleed, but keep the mic facing the hoop and about an inch away. To put it another way, make the mic perpendicular to the drum, and pointed toward the hoop. Do a mid scoop around 350 - 500 hz, and bingo, you got a full kick sound with plenty of attack, no "basketball" sound of an internal mic to worry about, no papery "woof" of a reso head mic. If you need more low end, put a bump around 60hz or so. I tried this with a large diaphragm condenser (AKG 214) and Audix D6, and an SM57. All sounded great. The D6 required the least amount of EQ, for obvious reasons. Now here's the fun part, if you want more attack, mic the batter side hoop. If you want more body, mic the reso side hoop. If you have the means, mic them both, it sounds fantastic. (You will need to flip the phase of one of the them if you use 2 mics) I've got a drummer coming in for a session this weekend, I'm going to give it a try and see how it works in a "real" setting.

I actually think uncut reso heads have more punch. Hopefully the drum is dampened properly for the genre. I feel like the uncut reso is moving just like the diaphragm of a dynamic mic and translates a nice sound pressure wave directly into it.

@@TimMilliken absolutely. I mounted a D6 in my kick so I can keep a non ported reso head. Much better sounding IMO.

Stranger things have happened -Miami

Everytime! -Miami

It does so well in these comparisons. It's why I picked it as my first kick-drum mic back in the day

Soon my friend, soon -Miami

I always make samples from the session. But I never replace the tracks, I only augment them. Just gate your close mics and blend with the samples. I usually use the samples to boost high end when the real one has too much bleed.

Kris Crummett and Josh Newell use it. Enough of a reason for me to trust it has a purpose -Miami

Its great on the floor tom.