4710d x WA412 x WA73 on drums... what on what

[craig pfunder]

so i've got 12 pres. 4 710s, 4 warm audio neve 1073, and 4 warm audio 3124 api clones.

I'm curious how you'd run a 12 mic setup on drums on the following config.
I have mine set up a certain way but curious how others would go about it. i understand it's genre specific so i'm doing more rock bits and some dry 70's sounds... occasionally some disco

1. Kick Dynamic
2. Kick Condensor
3. Snare top
4. Snare bottom
5. HH
6. Rack L
7. Rack R
8. Floor
9. OH L
10. OH R
11. Room L
12. Room R

 

[UA_User]

so i've got 12 pres. 4 710s, 4 warm audio neve 1073, and 4 warm audio 3124 api clones.

I'm curious how you'd run a 12 mic setup on drums on the following config.
I have mine set up a certain way but curious how others would go about it. i understand it's genre specific so i'm doing more rock bits and some dry 70's sounds... occasionally some disco

1. Kick Dynamic
2. Kick Condensor
3. Snare top
4. Snare bottom
5. HH
6. Rack L
7. Rack R
8. Floor
9. OH L
10. OH R
11. Room L
12. Room R

I don't use a micing layout like the list you have, so apologies for ignoring it, and being more general.

API on Overheads.

I'd use your other two API on (main) kick, and snare.

If you want more "smooshed" transients, use the WA73's on kick and snare. Even when run clean, these sound different than your WA12's on these sources... more "distant". It depends what you need for the style and song.

710 on room mic (with the knob set to right), hit hat mic (with the knob set to left). You could also do an OH pair with these for the "dry" songs (knobs right, please)... the API OH's might be a little boring on the "dry" songs.

Outside kick mic, 710 (knob right).

Snare bottom, toms, etc, use whatever.


Also, you can do the opposite of my suggestions just fine

 

[Matt Hepworth]

so i've got 12 pres. 4 710s, 4 warm audio neve 1073, and 4 warm audio 3124 api clones.

I'm curious how you'd run a 12 mic setup on drums on the following config.
I have mine set up a certain way but curious how others would go about it. i understand it's genre specific so i'm doing more rock bits and some dry 70's sounds... occasionally some disco

1. Kick Dynamic
2. Kick Condensor
3. Snare top
4. Snare bottom
5. HH
6. Rack L
7. Rack R
8. Floor
9. OH L
10. OH R
11. Room L
12. Room R

Careful, the Warm can clip on drums, especially in the vintage mode - even with pad and minimum gain.
However, I've tracked a lot of drums through one. Unfortunately, I usually had to not use the vintage mode.

If time allows I use this general rule - API for faster songs, Neve for mid-tempo. This applies to the big four (kick, snare top, overheads). So, I'll treat this as faster, but just reverse the API for the Neve style, if it's more mid-tempo stuff.

1. Kick Dynamic - API
2. Kick Condenser - if this is in front of kick - Neve
3. Snare top - API
4. Snare bottom - UA
5. HH - UA
6. Rack L - UA (Swap for API on mid-tempo)
7. Rack R - UA (Swap for API on mid-tempo)
8. Floor - Neve
9. OH L - API
10. OH R - API
11. Room L - Neve (Swap for UA on mid-tempo)
12. Room R - Neve (Swap for UA on mid-tempo)

 

[UA_User]

Careful, the Warm can clip on drums, especially in the vintage mode - even with pad and minimum gain.

Interesting...

I've had a few of the original Warm API clones since they came out, and they have infinite headroom (for all practical purposes). The output is hot, so it'd be easy to clip a converter... is that what you meant? For sure, even when it all seems hunky dory, the transients on an API can easily clip a converter without even registering on an interfaces meter. Harp or Guitar "twinkle" transients have caught me a few times there... I learned my lesson LOL.

The newer model has a variable output pad built-in with a knob (like a Neve). I used inline output pads, for the old model.

 

[Matt Hepworth]

Interesting...

I've had a few of the original Warm API clones since they came out, and they have infinite headroom (for all practical purposes). The output is hot, so it'd be easy to clip a converter... is that what you meant? For sure, even when it all seems hunky dory, the transients on an API can easily clip a converter without registering on an interfaces meter. Harp or Guitar "twinkle" transients have caught me a few times there... I learned my lesson LOL.

The newer model has a variable output pad built-in with a knob, I'm pretty sure (like a Neve). I just used inline output pads, for the old ones.

Now that you mention it, I can't remember for sure! It seems like I had to run both gain and output completely at minimum...even with the pad. I actually contacted Warm about that early on (I had one of the first four-channel units they released).