DPA d:vote™ 4099D Instrument Microphones
were chosen for use on the snare drum, hi-hat, toms and overheads. One incredible advantage of the d:vote™ 4099D was that Rosales did not have to EQ the instrument channels to get a fantastic sound. Also, the small size of the d:vote™ 4099D provided the FOH with many different positioning options.
Rosales was able to position the mic on the snare drum in such a way that it canceled the nearby hi-hat and provided a clean ”in your face” sound for the mix. He also positioned the d:vote™ 4099D on the hi-hat, facing the bottom of the lower cymbal at a 45-degree axis away from the snare, and was able to capture a clean, sound, without leak from the snare drum.
He was also looking for a great, solid sound from the toms, as he is typically unable to hear them in any concert setting despite seeing them played. Due to its discreet size, he was able to mount the d:vote™ 4099D in a way that clearly captured the robust sound he needed. The positioning of the d:vote™ on the toms also removed the sound of the other drums in the kit.
When miking the overheads with d:dicate™ 2011C Twin Diaphragm Cardioid Microphones
, Rosales was interested in capturing every detail in the sound of the cymbals, while rejecting unwanted noise and staying true to the band’s sound. Many of the musicians mentioned their delight with the final audio, noting how accurate the d:dicate™ 2011C mics were to their respective instruments.
Rosales also mounted a d:dicate™ 2011C on the kick drum, with extraordinary results. He placed the mic at the edge of the hole facing the percussive skin and positioned it off axis by 35- or 45-degrees. He got a deeper low with richness throughout the whole frequency range. The mic’s cardioid polar pattern helped to cancel the noise behind it.