Topic: Good rig for bad rooms?

[Evil Taper]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

[shaggy]

Probably looking at some C4s/modUA-5.  Or C4s/MP-2, MV100, PSP2 or Sonosax.  Those C4s sound alright but not made durably like AKGs.  Evil, whatever you do, think about what you are probably gonna do after you want to upgrade again.  I think AKG 480s sound good in shitty rooms.  But you gotta buck up a bit more and still get the pre.  Too bad you didn't jump all over that Denecke PS-2 AD-20 combo that was sold in about ten mintues for $200 by Gloco.  Some people are too cool with getting rid of gear...others are expecting too much for their used gear.  Be picky, and bargain.

[Evil Taper]

C4s are too entry level for me though, I'd just end up reselling those things in a month or two.  I'm thinking more on the lines of mics that are approaching Neumann/MBHO/Schoepps quality.  I'd possibly consider some of those Pelussos but I have yet to hear what they actually sound like.  I guess the budget is determined by what's necessary.  Shotguns possibly worth consideration?

[Nick's Picks]

AKG 483s DIN
sounds good in any room.  even outside.


the Peluso's wouldnt be bad either.  card/hyper caps would probably work well.  the cards sound fantastic.

if you want to hear what the hypers sound like, look for "peluso" on archive.  ive' got an SKB show up there from 6-17-05 where the room sounded good..but was full of chatty ass people.  a poor taping environment for sure.  but the recording doesnt' reflect it that much.
that was the hyper cap.

[Evil Taper]

Cool shit, I'll check out some pelusso tapes.  For the price point I don't know if they can be matched.

[rocksuitcase]

Evil,
the other side of my shotgun diatribe NOTwithstanding, I do not feel shotguns are an ideal solution for bad rooms.  they work sometimes to reduce chattiness and enhance vocals like I said in that post, but most ugly sounding rooms will still sound ugly with guns.  hypers do tend to make the best out of a bad situation.  IMO, Neumanns will usually not help any in a bad room, but I am not a fan of the Neumann sound.

[Unitmonster]

my thought on this would be to go with mics that allow for switching caps or pickup patterns. That way you can respond to the shittyness of a room with more than just the mic positioning.  I guess that would include a ton of possibilities depending on budget, running from the AT line (good if you want miniature as well) to the Neumanns.   I really like the sound of Scheops 641's in a less-than-perfect venue, but that's probably way out of your budget.

[marc0789]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

adk a51's TL>phantom power source>modsbm1. probably round that stuff up for $700 bills used, another $150 for 15' cables, used stand and shocks. that way you get the hypers for real crappy rooms, but the cards are real forgiving too. Can't come close to the quality of the TL's in the $625-650 used range. The only thing close would probably be a pair of 393's or mg 300's, can't go too wrong there either.

[muj]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

[Ray76]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

you come up with some of the most off the wall names for stuff that ive ever heard. where do you hear about these mics???can you get them in the US??

[Ray76]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

Well....I think my 4050s sound really great in bad rooms...i can send you a sample too. and they are pretty clean..which you like. 3 pattern, LD mics...800 bucks for a pair on ebay. audio technica 4050s.

two recordings i made with them were in rooms that sounded like echo chambers...and full of loud people...you wouldnt know it..pm me your email address. ill send you samples.

[Nick Graham]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

[Ray76]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

what are those for???us company?

charactaristisc??pzm mic?

[nickgregory]

agree with Marc, the MG300s if you can find them are easily the best sounding sub $1000 a pair mic imo...used they go for around $600 and they sound fantastic

[SuperDave]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

Well....I think my 4050s sound really great in bad rooms...i can send you a sample too. and they are pretty clean..which you like. 3 pattern, LD mics...800 bucks for a pair on ebay. audio technica 4050s.

two recordings i made with them were in rooms that sounded like echo chambers...and full of loud people...you wouldnt know it..pm me your email address. ill send you samples.

What pre do you like to pair the AT's with Ray?  A warmer pre? 

[Ray76]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

Im going to pair mine with my other brick, to warm up the sound a bit. THey are clean as a whistle on their own..i just like punch and warmth.
Well....I think my 4050s sound really great in bad rooms...i can send you a sample too. and they are pretty clean..which you like. 3 pattern, LD mics...800 bucks for a pair on ebay. audio technica 4050s.

two recordings i made with them were in rooms that sounded like echo chambers...and full of loud people...you wouldnt know it..pm me your email address. ill send you samples.

What pre do you like to pair the AT's with Ray?  A warmer pre? 

Im going to pair mine with my other brick, to warm up the sound a bit. THey are clean as a whistle on their own..i just like punch and warmth. I tried the v2, but no dice..

[Ray76]

the V2 just passed the voice of the mics downstream.

yeah, .the mics are clean..very clean..as is the v2. its just a sound that I dont really like with PA music.

but when I paired the mics with the brick..man, that combo sounded great...

[Sloan Simpson]

AKG 483s DIN
sounds good in any room.  even outside.

Agreed.  I have a friend who pretty much points his 483's at the side walls in bad rooms, and they still sound great.

[muj]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

you come up with some of the most off the wall names for stuff that ive ever heard. where do you hear about these mics???can you get them in the US??

hey..those are swedish mikes!

Line source loudspeakers are well known in professional audio: they give a good spread of sound laterally but have tightly controlled directivity in a vertical sense. The Pearl linear microphone capsule has some similar properties, though this is not its only advantage. Conventional microphone capsules are round. It's an easy shape to make consistently, but it has one significant disadvantage in that its high degree of symmetry makes the primary resonance quite pronounced. Damping can reduce some of the ills caused by that resonance, but it is still there and most often well within the audio band.
The size of round capsules is also a problem. Large is good for signal/noise ratio, but leads not only to a lower (hence more noticeable) resonance but also to a more marked increase in directivity at high frequencies. Very small capsules suffer from a reduced signal/noise ratio.
Pearl has made rectangular capsules for many years now, but never before with such an extreme (7:1) length/width ratio. The new linear capsule has more than twice the surface area of large-diameter round capsules, giving excellent signal/noise ratio, but avoids their high levels of in-band resonance (the resonance due to end-to-end vibration modes is very weak). In addition, at high frequencies the small width dimension makes for very good uniformity of directional pattern in the lateral sense, while usefully attenuating reflections from floor and ceilings - high frequency signals from above and below the 'line of sight' are almost never of any use!

This means that Pearl's new microphone can deliver a very accurate, uniform and consistent response pattern, with very flat response, low noise and useful attenuation of 'nuisance' reflections. The capsule is used in the new models ELM-B (figure-of-eight) and ELM-C (cardioid) and is highly recommended for stereo recording. The result: exceptional sonic neutrality. Hear it for yourself!

Finished in black chromium.
The ELM comes in aluminium case AC01

www.pearl.se

independent audio is the u.s rep.


unfortunately they ar not wellknown due to poor marketing, the company has existed in 50-60 years or so

the stack tapers are gonna love this mike!

[Ray76]

I'm considering putting together a mid-upper level rig for open taping mostly in rooms with bad acoustics.  Would just like some suggestions of mics that perform better than average in unforgiving circumstances or some mic>power/processing combos that might be good for this environment.  Lets stamp the budget at around $850 total (assuming I can get a good deal on new or used gear).  I'd mostly be using these for taping local jazz acts or the bassy open acts like Pfunk or Claypool.  Should I just invest in more processing for my 4061 to excell in an open taping situation and forget about getting some high end cards altogether?  Lets assume I have an oade sbm-1 already.  Thanks for any opinions but please try to not be a fluffy fanboy.

definately not 850 ..but if you can get the $$ check out pearl elm-c.

 

you come up with some of the most off the wall names for stuff that ive ever heard. where do you hear about these mics???can you get them in the US??

hey..those are swedish mikes!

Line source loudspeakers are well known in professional audio: they give a good spread of sound laterally but have tightly controlled directivity in a vertical sense. The Pearl linear microphone capsule has some similar properties, though this is not its only advantage. Conventional microphone capsules are round. It's an easy shape to make consistently, but it has one significant disadvantage in that its high degree of symmetry makes the primary resonance quite pronounced. Damping can reduce some of the ills caused by that resonance, but it is still there and most often well within the audio band.
The size of round capsules is also a problem. Large is good for signal/noise ratio, but leads not only to a lower (hence more noticeable) resonance but also to a more marked increase in directivity at high frequencies. Very small capsules suffer from a reduced signal/noise ratio.
Pearl has made rectangular capsules for many years now, but never before with such an extreme (7:1) length/width ratio. The new linear capsule has more than twice the surface area of large-diameter round capsules, giving excellent signal/noise ratio, but avoids their high levels of in-band resonance (the resonance due to end-to-end vibration modes is very weak). In addition, at high frequencies the small width dimension makes for very good uniformity of directional pattern in the lateral sense, while usefully attenuating reflections from floor and ceilings - high frequency signals from above and below the 'line of sight' are almost never of any use!

This means that Pearl's new microphone can deliver a very accurate, uniform and consistent response pattern, with very flat response, low noise and useful attenuation of 'nuisance' reflections. The capsule is used in the new models ELM-B (figure-of-eight) and ELM-C (cardioid) and is highly recommended for stereo recording. The result: exceptional sonic neutrality. Hear it for yourself!

Finished in black chromium.
The ELM comes in aluminium case AC01

www.pearl.se

independent audio is the u.s rep.


unfortunately they ar not wellknown due to poor marketing, the company has existed in 50-60 years or so

the stack tapers are gonna love this mike!

Interesting, Thanks Muj..

So you say "neutrality" as in transparency?

[muj]

yeah they lean to the transparnt side....kind of like cleaner schoeps.

[Massive Dynamic]

definately not 850 ..but if you can get the $$ check out pearl elm-c.
 

A quick google brought up this review. About $2,000 for the card, more for the fig 8.

[muj]

they probably are little less when they hit street price.still doubt there are focused mics like these anywhere..

[BC]

if you want to go the hyper route as your antidote to bad rooms, my personal faves are the schoeps MK41 and gefell M210. 

Might be out of your price range. though. Could consider some lower priced hypers like AKG (460, 480, 39x series) AT and others.

Plus those mics muj pointed out look like a nice choice too, never seen those before, +t for pointing them out muj! Just when I thought there were no mics out there that I had not heard of before...     

Another option for bad rooms is to change the way you think about the recording.     Your DPA's are pulling a great representation of how the actual show sounded, crappy sound or not. To me there is something neat about a realistic sounding recording, even when the place sounds like crap. You listen to the tape on little computer speakers or a boombox and sure, it sounds like crap. But listening on good speakers or decent headphones can give you a whole different sounding perspective on your "crappy" recording, when you close your eyes and can picture exactly how it sounded when you were at the show.

[pfife]

Evil, I think before you spend any money, you should try tossing your 4061's up on a stand or something and give them a spin... maybe a jecklin disk or something - check out what Moke made for the 4060s.

This is just my personal opinion, and I'm sure that many will disagree, but in the shitty sounding, crappy local bars that I've taped in, I really don't notice the hypers making better recordings than omnis.  I've made some tapes I've been really happy with in crappy sounding venues with the 4061s (like the May Masto I sent you...  that venue TOTALLY blows).  I've also made a couple nice recordings splitting them suckaz about 5-6 ft apart, taped to a rail on a balcony (did I send you QOTSA?).

But, once again, that's just me... and I love omnis.

[Evil Taper]

Evil, I think before you spend any money, you should try tossing your 4061's up on a stand or something and give them a spin... maybe a jecklin disk or something - check out what Moke made for the 4060s.

This is just my personal opinion, and I'm sure that many will disagree, but in the shitty sounding, crappy local bars that I've taped in, I really don't notice the hypers making better recordings than omnis.  I've made some tapes I've been really happy with in crappy sounding venues with the 4061s (like the May Masto I sent you...  that venue TOTALLY blows).  I've also made a couple nice recordings splitting them suckaz about 5-6 ft apart, taped to a rail on a balcony (did I send you QOTSA?).

But, once again, that's just me... and I love omnis.

That Mastodon show is creamy!  I'll have to give your QOTSA set a spin, haven't listened to that one yet.  You should check out the Static-X set I sent you, that's the room I'm concerned about open taping in because it usually sounds WORSE than that night even.

[pfife]

Evil, I think before you spend any money, you should try tossing your 4061's up on a stand or something and give them a spin... maybe a jecklin disk or something - check out what Moke made for the 4060s.

This is just my personal opinion, and I'm sure that many will disagree, but in the shitty sounding, crappy local bars that I've taped in, I really don't notice the hypers making better recordings than omnis.  I've made some tapes I've been really happy with in crappy sounding venues with the 4061s (like the May Masto I sent you...  that venue TOTALLY blows).  I've also made a couple nice recordings splitting them suckaz about 5-6 ft apart, taped to a rail on a balcony (did I send you QOTSA?).

But, once again, that's just me... and I love omnis.

That Mastodon show is creamy!  I'll have to give your QOTSA set a spin, haven't listened to that one yet.  You should check out the Static-X set I sent you, that's the room I'm concerned about open taping in because it usually sounds WORSE than that night even.

Yeah, I'll give 'er a spin!   I'm not sure that the mics would work well for you, but I think it might be worth a shot just to go through them up and see how it turns out, before you drop the cash for something else.  I mean, the worst that can happen is that you learn that you still need to purchase mics.  You could end up saving yourself money!

[Evil Taper]

Good point.  I think I'm gonna go tape this Claypool gig if I have an sbm-1 by then and see how I like it.

[Nick's Picks]

here is a spaced omni rig I made from $5 worth of radio shack stuff and a sabra mount.
I made several very nice recordings w/my DPAs this way.  I could get a 5' spread w/this.  but usualy though 3-4' sounded better.

[Evil Taper]

What about just putting them at normal placement on a standard stereo bar?

[Ray76]

What about just putting them at normal placement on a standard stereo bar?

I think the point is that spaced omnis sound better than a normal interval on a stereo bar.
or either a baffle..

[Evil Taper]

So do I need 2 stands or what then and do they usually allow that kind of room in a taping section?  Where do I get a good stand and accessories anyway?

[pfife]

What about just putting them at normal placement on a standard stereo bar?

The main problem is that there's no damn mounts for the mics besides clips, so you fashion something up.  Sonically, w/ omnis, you really gotta do something more than putting them close together and pointing them because you won't get much (if any) stereo seperation.  When you wear them on your head, your head is acting as a baffle, which gives you stereo seperation.   The j-disc would do the same thing, except on a stand.  Split omnis also gives great stereo seperation as well.

I got my stand from ebay.   The best way, most low profile way would be to do the jecklin disk.  FWIW, everything you need to know about split omnis and jecklin discs, including a number of pics of an awesome Jdisc Moke made for 406x's is located here.  enjoy!

[Evil Taper]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

[pfife]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

[Ray76]

What about just putting them at normal placement on a standard stereo bar?

The main problem is that there's no damn mounts for the mics besides clips, so you fashion something up.  Sonically, w/ omnis, you really gotta do something more than putting them close together and pointing them because you won't get much (if any) stereo seperation.  When you wear them on your head, your head is acting as a baffle, which gives you stereo seperation.   The j-disc would do the same thing, except on a stand.  Split omnis also gives great stereo seperation as well.

I got my stand from ebay.   The best way, most low profile way would be to do the jecklin disk.  FWIW, everything you need to know about split omnis and jecklin discs, including a number of pics of an awesome Jdisc Moke made for 406x's is located here.  enjoy!

Scott, I can also build one for you , ive got some extra materials. I can follow the model of mine, which has the jecklin disc AND a universal thread on top of the disc in case you wanted to mount a stereo bar for 4 mic configuration..

Teddy

[Ray76]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

pencil erasers(the trianguular ones attached to a pencil going through the disc is more than adequate...and like I said...ive got extra material...let me know and i can send the disc when i send your cable.
Teddy

[pfife]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

pencil erasers(the trianguular ones attached to a pencil going through the disc is more than adequate...and like I said...ive got extra material...let me know and i can send the disc when i send your cable.
Teddy

If I'm envisioning what you are saying correctly, pencil erasers are a brilliant idea.

[Evil Taper]

If you've got the time that's fine by me.  Any timeframe on that cable anyway?

[Ray76]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

pencil erasers(the trianguular ones attached to a pencil going through the disc is more than adequate...and like I said...ive got extra material...let me know and i can send the disc when i send your cable.
Teddy

If I'm envisioning what you are saying correctly, pencil erasers are a brilliant idea.

Yes you are.. exactly so id say, though your brain isnt quite capable of higher echelons of thought like mine is. This is a baser level though, so yeah..you probably are thinking like me in this instance.

[pfife]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

pencil erasers(the trianguular ones attached to a pencil going through the disc is more than adequate...and like I said...ive got extra material...let me know and i can send the disc when i send your cable.
Teddy

If I'm envisioning what you are saying correctly, pencil erasers are a brilliant idea.

Yes you are.. exactly so id say, though your brain isnt quite capable of higher echelons of thought like mine is. This is a baser level though, so yeah..you probably are thinking like me in this instance.

  Nice!

[Ray76]

I've actually made a Jdisc and used it for recording my drum kit now and again but I don't have a good way to mount the mics to it or to mount the disc to the stand.

Yup... that's the creative part.   Moke did something where he weaved the cables, and pulled them tight, which held the mics in place.  You probably have the same situation as I, which is that this is not really possible b/c the mics can't be detatched from one another... I just use tape and tape them to the disc.

I used a wooden dowel, and put that dowel into a shockmount... that's how I got it on the stand.

pencil erasers(the trianguular ones attached to a pencil going through the disc is more than adequate...and like I said...ive got extra material...let me know and i can send the disc when i send your cable.
Teddy

If I'm envisioning what you are saying correctly, pencil erasers are a brilliant idea.

Yes you are.. exactly so id say, though your brain isnt quite capable of higher echelons of thought like mine is. This is a baser level though, so yeah..you probably are thinking like me in this instance.

  Nice!

well, im hit or miss. i havent taken my anti-psychotics yet today, so im funny!