Sound Samples, sE In The Studio, Live Sound
Our VR1 ribbon is the go-to guitar amp mic for tons of guitar players worldwide, including Pete Thorn (Chris Cornell, Melissa Etheridge), Steve Stevens (Billy Idol), Linkin Park, Queens of the Stone Age, and many more.
But there are some who know a secret - it's a KILLER drum mic, both live and in the studio.
See and hear it on drums below:
In this sample from the band ALL WILL KNOW, Kristian "Kohle" Kohlmannslehner (Powerwolf, Hämatom, Eskimo Callboy, Benighted, Crematory, All For Nothing) has the VR1s in a spaced pair configuration, about one meter above the kit.
"Overhead mics are the most important weapons when it comes to capturing drum sounds - the foundation, so to speak. I have always prefered rather "full-sounding" overhead mics that give me the punch of the drums without too much harshness in the cymbals.
Those LDCs (large-diaphragm condensers) everybody seems to use have always been too thin and bright-sounding to my ears. So I have been using an old pair of AKG 414B-ULS for that purpose, until I discovered the VR1s.
They offer a beautifully relaxed picture of the whole kit. Big drums, smooth cymbals and a nice touch of the room. Compared to most condensers, they sound "relaxed" - especially around 8kHz where cymbals can hurt your ears!
Compared to the other ribbons, they don't need a lot of EQ to sit nicely in the mix. The high end is perfect and the low end is not as overwhelming as with many traditional ribbons. Best of both worlds. Smooth ribbon feel with a condenser-like high end."
Ryan Pickett, FOH and live performance archive recording engineer for the band My Morning Jacket, uses VR1 passive ribbon microphones for the band's live drums in a Blumlein pair - at a 90-degree angle with the capsules coincident. Pickett, who has been working with the band for eleven years, also using the VR1s for the band’s front man Jim James on his first solo project:
“I chose the VR1 mic for its size and price point. I love the added air at the top end of the VR1; it delivers more high-end than traditional ribbons.
The drum sounds have become very open and natural, and cymbals no longer hurt. I also find myself using less EQ on the overhead channel strip...and the VR1s are also low-profile enough to allow me to get the right proximity without blocking the audience or drummer’s sight lines.
The sE mics are very robust. That's what really sets them apart from other ribbons. I’ve had other ribbon mics that were too delicate to take on the road, but I've had no problems with the VR1s. I really like the idea of being able to use studio mics in the live realm without having to worry about ribbon failure.”
On another recent project that he recorded at his studio, he used a pair of VR1s in a three-mic arrangement inspired by legendary engineer Glyn Johns:
“We used two VR1s placed equal distance from the snare, with one six inches from the floor tom and another overhead - both 13 inches from the snare - along with a Beyer M 88 on the beater side of the kick. The result sounded very round, warm and 3D. The size and sound were perfectly suited for that particular jazz application.”