Yesterday, in the morning of May, 28, 2009, a 7.1 earthquake struck in the northern coast of Honduras and was felt throughout Central America. This caused several deaths and structural damages. This is a relevant event for Web Design in Honduras because it puts focus on all forms of media, and puts them all to a very real test. The media is something we want to take advantage of in business and one we want to use in case of emergency to find firsthand accounts quickly. Much the same way you might want to instantly communicate an emergency, it would be convenient to publish a press release or other business publication for immediate release.
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After years of using programmed drums, 2Active Audio has taken a huge leap into the recording world, filling in the last gap required for commercial music recording: Real drums! For this, our sound engineer has designed an 8 microphone setup which is very complete and involves some of the finest microphones available for these purposes. Quality was the number one priority.

These are the microphones that will be used:

• 2 Rode NTKs
• Matched pair of Rode NT5s
• Shure Beta 57a
• AKG D112
• Rode NT2-a
• Sennheiser MD421-II

Overheads

A pair of Rode NTKs in a stereo X/Y configuration. A high pass filter will be engaged at the DAW console. Height will depend on the drummer’s style, but should start about 24 inches from the snare. These microphones should center precisely above the snare and point towards the edges of the kit. SM2 shockmounts will be used on a stereo microphone mounting bar, allowing two microphones to hang from only one stand. The overhead microphones will capture the entire kit, primarily toms and cymbals.

Bass Drum

A Sennheiser MD421-II will be used inside the drum, pointed near the beater at a 45 degree angle. This will add attack and crispness with lots of isolation for a more aggressive beater sound. An AKG D112 microphone will be placed in front of the bass drum for that more natural sound we’re used to. Both will be balanced to taste at the console.

Snare Drum

I’ve decided to stick to tradition and keep the old 57 on here with one small change. I’ll be using the Beta 57a instead of the SM57 because the Beta 57a adds a little more peak to the treble and also has a tighter cardioid pattern which will help isolate the snare. The 57 will be aimed from the hi-hat across the snare top to add more attack. I find that I prefer attack and presence rather than body from a snare. A Rode NT5 might be used at times below the snare at 180 degree phase to capture the snare buzz and add more pressence.

Hi Hat

A Rode NT5 condenser microphone will be placed above the hi-hat, aimed between the bell and the edge of the top hat. This will capture the loud transients with the warm response of the NT5.

Room Ambiance

The versatile Rode NT2-a will be used for this purpose with the figure 8 pattern and the hi pass filter engaged. It should be placed about 5 feet in front of the snare drum and should be thought of as a mid-field microphone as a complement to the overhead Rode NTK pair. The height will be equal to that of the snare and the mic should point towards it at a slight upward angle. The back of the microphone should aim towards the wall.

Preamp IO

The microphones will go into a Toneport UX8 recording interface with 8 XLR inputs and selectable phantom power. The high pass filters and -20 db PAD are available on each preamp. 25 foot Mogami studio cable will be used on all mics to reduce noise. Rode NTKs will use their own power supply and proprietary cable.

Room Treatment

Auralex foam will be placed in troublesome areas. Bass traps are used in the corners of the room. Bath towels will be placed on stands and chair backs to absorb excessive reverberation. The drum set will be placed on a thin carpet. Mahogany and cedar furniture will be present in the room and drapes will cover two walls. Diffusers will be used around the set if smaller reflections are required and to break up the early reflections.

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