Build a Microphone Cabinet on any Budget

Sep 1, 2000 12:00 PM, BRIAN KNAVE AND MYLES BOISEN

           
 

Cabinet Closed

In writing this story, we had to leave out many great mics - a problem you'll have once you start putting together your own cabinet. Clearly, the transducer market is beset with an embarrassment of riches. We hope we've given you a head start in figuring out your budget, your applications, and your microphone needs.

Although the Basic Coverage cabinet would obviously work for any Bare Bones application, we have tailored it specifically for bands seeking to record and release their own records using minimal gear. To that end, it contains just enough mics (five dynamics and three condensers) to allow full miking of a 5-piece drum kit - yet not for recording the whole band at once. In other words, overdubs are required. But if you don't mind building your songs instrument by instrument, the Basic Coverage cabinet should serve your needs.

We have a large-diaphragm dynamic for the kick drum, four other dynamics for close-miking the snare and up to three toms, and a pair of small-diaphragm condensers for overheads. That leaves one large-diaphragm condenser for use either as an ambient room mic or on hi-hats.

With all the mics positioned on the drums, you can then use DIs to record bass, keys, and dummy electric-guitar tracks - thereby laying down the basic tracks for a song or an album in one pass. Playing the core instruments together gives a lively, natural feel, and having everyone but the drummer use DIs helps isolate the drums, keeping those tracks pristine. Once the drum tracks are nailed, the other basic instruments can be retracked if necessary - at which point you'll have several cool mics at your disposal. After that, you can lay down the acoustic instruments, vocals, sweetening tracks, and so on.

If you've ever done any work in major recording studios, you know that the microphone cabinets tend to be first-rate - and typically, they're huge. Indeed, a big selection of mouth-watering microphones can be a main attraction for producers, engineers, and artists alike.

For an idea of what it takes to compete at this level, we could trot out any number of major studios' mic collections. But one thing you'd discover - especially with long-standing, established facilities - is that many of the mics they use are "vintage," which is to say, you couldn't just go to your local audio store and purchase one of them. This is less likely to be the case, however, with new studios.

Starstruck Studios (www .starstruckstudios.com), owned by country singer Reba McEntire, is one of Nashville's premier new recording facilities. Designed by Harris, Grant & Associates' studio-design team, Starstruck opened for business in 1996. In addition to its acoustics and design, it is noted for housing two studios with mirror-image control rooms, each equipped with identical gear.

So which mics would you buy for a world-class recording studio? You might want to strap on your drool bucket before perusing this stately list:

(1) AKG C 12
(2) AKG C 12 VR
(4) AKG C 414 B/TL II
(8) AKG C 414 B/ULS
(4) AKG C 3000
(12) AKG C 460B/CK 91
(4) AKG D 112
(12) AKG C 391 B
(2) AKG CK 93
(2) AKG C 24 (stereo)
(4) Audio-Technica AT4030
(4) Audio-Technica AT4050
(4) B & K 4007
(2) Coles 4038
(2) Electro-Voice RE20
(1) Neumann U 47 FET
(2) Neumann M 149
(3) Neumann M 269
(8) Neumann U 87
(4) Neumann TLM 170
(4) Neumann TLM 193
(8) Neumann KM 184
(1) Neumann SM 69 (stereo)
(12) Sennheiser MD 421
(12) Shure SM 57
(2) Sony C 800
(2) Sony C 800G
(2) Sanken CU-41
(2) Telefunken ELAM 251

The No Compromises cabinet is designed to accommodate virtually any recording task you could imagine, including tracking a large band all at once. In our estimation, such a feat requires a minimum of 16 microphones (nine dynamics and seven condensers): that should be enough to cover the drum set, the bass guitar, two electric guitars (or a single electric guitar if you want to double-mic), the stereo acoustic guitar or piano, and vocals.

The drum-set microphones consist of a large-diaphragm dynamic for the kick drum, five other dynamics for the snare drum and up to four toms, one small-diaphragm condenser for the hi-hats, and a matched pair of small-diaphragm condenser microphones for overheads. One large-diaphragm dynamic is also appropriated for the bass-guitar amp (to be used in conjunction with a DI track), and there are two dynamics - including one ribbon mic - for electric guitars.

In addition, a second matched pair of small-diaphragm condenser microphones can be used to stereo-mic an acoustic guitar, a piano, a percussion setup, or whatever. And you have a choice of large-diaphragm condensers (one solid-state and one tube mic) for vocals, room-miking, and miscellaneous sources.

Of course, these 16 microphones can be used in any number of other combinations. No matter how you use them, however, they will almost certainly allow you to record without compromises.

Making the commitment to record drums in your personal studio is a big step, and often it requires a significant increase in the number and types of microphones in your cabinet. Some manufacturers simplify this task by offering cost-effective mic kits specially designed to accommodate drum recording. Here are several packages currently available, most of which include a handy carrying case:

AKG offers the Drummer's Ultimate Package ($996), which consists of one cardioid D 112 dynamic mic for the bass drum and a pair of hypercardioid C 418 condenser mics for snare drum and toms.

Audio-Technica's KitPak ($500) has four custom-engineered cardioid dynamic mics: two for snare/tom and two for kick/tom. It also includes a heavy-duty carrying case and drum-miking instructions.

Audix has packaged its four D-series hypercardioid dynamic microphones and ADX-50 prepolarized condenser mic in four different drum packs. The DP1 ($931) consists of one D2 for the toms, one D4 for the bass drum, and one ADX-50 for use as an overhead or hi-hat mic. The DP2 ($1,177) gives you one D1 for the snare, hi-hat, or cymbals; two D2s for the toms; and a D4 for the bass drum. The DP3 ($1,755) is the full-size kit: you get one D1 for the snare, two D2s for the toms, one D4 for the bass drum, and two ADX-50s for overheads. Finally, the DP4 ($1,506) offers one D1, two D2s, and two D4s (for bass drum or floor tom). Each package ships in an aluminum flight case.

CAD is offering three complete packages with plastic carrying cases. The PDK3 ($249) includes two cardioid NDM10 dynamic mics for snare and toms, and one cardioid NDM11 dynamic mic for bass drum. The PDK5 ($449) gives you four NDM10s and one NDM11, whereas the PDK5C ($449) puts together two NDM10s, one NDM11, and two cardioid CM15 electret condensers. The CM15 is designed for use as an overhead, cymbal, hi-hat, or snare-drum microphone.

Sennheiser offers three drum packs. Each contains dynamic mics from the company's popular Evolution series and comes with a carrying case. The SET604A ($747.95) provides three cardioid E604s for snare drum and toms; the SET604B ($817.95) consists of two E604s and one cardioid E602 for bass drum. The SET604C ($1,066.95) gives you three E604s and one E602.

Shure recently unveiled its DMK57-52 Drum Mic Kit ($663), comprising three cardioid dynamic SM57 mics for snare drum and toms, one supercardioid dynamic Beta 52 for the bass drum, three A56D drum mounts, and a carrying case.