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Gear / Technical Help => Recording Gear => Topic started by: gdavisloop on December 22, 2013, 04:43:08 AM
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Hello,
I decided to try a small recorder like the Zoom H1 as overhead drum mics as part of a multitrack rig (with a Tascam DR680 & Roland R26).
The Zoom is rated for 120dB SPL, but apparently that's not enough because the recordings are clipped.
If you lower the record volume below 15, the recording doesn't clip at 0, but you can see it's simply clipped at a lower level.
So, I took a look at a few other recorders. The small Tascams make no claim on SPL, so I skipped them.
The Olympus LS12 claims up to 130dB so that is promising, but the spread mics aren't idea for close drum recording.
The Olympus LS14 adds a center mic to the stereo pair, but people say it mainly adds excessive bass.
The Olympus recorders also have a mic gain switch (three position) which is more promising than the other recorders, which don't.
The Yamaha PR7 has the mic pattern I want (XY), but doesn't say anything about SPL.
Has anyone else tried this or have an opinion about which small, low-cost recorder can handle the most SPL?
thanks!
--Gary
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Why not get a real pair of mics instead of trying to make do with internals? And would you be trying to sync the recorder with the DR680 and R26? Sounds like a lot of work.
I do note in the specs that the LS-12 mics are 60-20k Hz. That would cut out a lot of the oomph of tom-toms or kickdrum. The lowest note on a piano is 27.5 Hz and I'd guess a bass drum is lower than that.
http://www.olympus-europa.com/site/en/a/audio_systems/audio_recording/sound_music_recorders/ls_12/ls_12_specifications.html
Internals for Sony PCM-M10 are 20-20k Hz but their max SPL is 123dB. The Sony does have a Limiter to help prevent clipping.
http://www.gearslutz.com/board/remote-possibilities-acoustic-music-location-recording/455659-sony-pcm-m10-vs-olympus-ls-11-a.html
But if the drum sound is important to you, maybe you'd be better off with mics and a mixer.
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You might consider the Zoom H2n. I use it to record a very loud rock band's rehearsals in a very small room, and it works great with the level control set around 2 or below. No overload at all. - not even for bass (which I play) or drums.
I see it's available new on eBay for around $130.
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Interesting, Jon, and Googling around I see you are correct. But 60 Hz would still be at the higher end of a bass drum, and some places said that there are lower frequencies occurring after the intial hit.
Meanhile, the E string on a bass guitar is 41.5 Hz--still lower than a 60 Hz cutoff.
http://www.talkbass.com/forum/f15/what-frequency-low-e-4-string-6719/
I recorded a show (Fleetwood Mac) through mics that promise 30 hz-20,000 hz. When I paid attention to the bass guitar, what I heard was lines that sounded to me as if I was hearing a linear little riff and then the first harmonic--the octave--rather than what was actually being played. They'd go down down down and then...hop up. I would be happy to think that I was hearing what was being played but I can't quite believe it.
Concerts do use subwoofers. I feel them. Something has to be providing a signal down there. Is it octave doubling? I don' t know. But mics without bass response aren't getting it. Many of your mics go down to 20 Hz....why?
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Howdy Jon.
Long time!
I see that you now have a store front ... Good for you ... Hope all is well with you and the family.
Best,
Henry