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<blockquote data-quote="Jeff Babcock" data-source="post: 3166" data-attributes="member: 46">I did a Christmas gig this past weekend with some great musicians and had a lot of fun playing to a packed house.&nbsp; I played drums for the show, but also provided PA and lighting rigs for the event.For some reason I always forget to take photos of gigs, so I just thought I would post a couple pics of yours truly with my personal kit and the mic setup used (yes, I play southpaw).&nbsp; Photos taken with my friend&#039;s Nikon D3.The configuration shown in the photos is:22&quot; kick14&quot; snare10&quot; popcorn snare8&quot;, 10&quot;, 12&quot;, 14&quot;, 16&quot; toms&nbsp; (12&quot; as an aux tom)Cymbals are a mix of Zildjian, Paiste, Sabian, and TurkishMics used:Kick - Audix D6.&nbsp; Note that there is no hole in the front head of the bass drum.&nbsp; The front head has multiple smaller holes around the perimeter, so the effect is similar to a ported head.&nbsp; The D6 is mounted on a Kelly SHU internal mounting system, and is arranged so that you simply plug an XLR into a tail on the kick and go.&nbsp; While the SHU makes no sense for a regional provider, musicians wishing to implement them on their personal kits won&#039;t be disappointed.Snare 1 - SM57 - &#039;nuff said, it works.&nbsp; Sometimes I use a PR20.Snare 2 - Heil PR20 - works greatHats - MXL 606 - it&#039;s cheap and it works fine for the tiny amount of hat needed in the mixToms - Beyerdynamic Opus 88.&nbsp; These are wonderful drum mics, the mounting system works very well and they have a fairly tight pattern which helps to minimize bleed.Overheads - Neumann KM184.&nbsp; This is a matched pair, and they were implemented in the X/Y (coincident pair) arrangement.&nbsp; Most of the experienced users here are familiar with this, but for those who aren&#039;t, X/Y helps to minimize time of arrival / phase issues.&nbsp; I do not always use X/Y, it depends on the circumstances, there are lots of other useful options&nbsp; (I&#039;m becoming a Recorderman technique fan, and use spaced pair often as well)In many circumstances I mic the bottom snare head as well as the ride cymbal, but in this particular case didn&#039;t feel that it was necessary.Monitoring for the gig was via a mix of IEMs and Wedges (10 mixes).&nbsp; The Sennheiser G2 rig and antenna distro I bought from Jim Bowersox has gotten a lot of use and been a reliable workhorse.&nbsp; For those using an IEM rig without a good external antenna system, you&#039;re missing out in terms of reliability.This gig was recorded and filmed which will make for some nice memories.&nbsp; As this is only partially audio related, feel free to move to the basement if it makes more sense there.CheersJeff</blockquote>

[QUOTE="Jeff Babcock, post: 3166, member: 46"] I did a Christmas gig this past weekend with some great musicians and had a lot of fun playing to a packed house. I played drums for the show, but also provided PA and lighting rigs for the event. For some reason I always forget to take photos of gigs, so I just thought I would post a couple pics of yours truly with my personal kit and the mic setup used (yes, I play southpaw). Photos taken with my friend's Nikon D3. The configuration shown in the photos is: 22" kick 14" snare 10" popcorn snare 8", 10", 12", 14", 16" toms (12" as an aux tom) Cymbals are a mix of Zildjian, Paiste, Sabian, and Turkish Mics used: Kick - Audix D6. Note that there is no hole in the front head of the bass drum. The front head has multiple smaller holes around the perimeter, so the effect is similar to a ported head. The D6 is mounted on a Kelly SHU internal mounting system, and is arranged so that you simply plug an XLR into a tail on the kick and go. While the SHU makes no sense for a regional provider, musicians wishing to implement them on their personal kits won't be disappointed. Snare 1 - SM57 - 'nuff said, it works. Sometimes I use a PR20. Snare 2 - Heil PR20 - works great Hats - MXL 606 - it's cheap and it works fine for the tiny amount of hat needed in the mix Toms - Beyerdynamic Opus 88. These are wonderful drum mics, the mounting system works very well and they have a fairly tight pattern which helps to minimize bleed. Overheads - Neumann KM184. This is a matched pair, and they were implemented in the X/Y (coincident pair) arrangement. Most of the experienced users here are familiar with this, but for those who aren't, X/Y helps to minimize time of arrival / phase issues. I do not always use X/Y, it depends on the circumstances, there are lots of other useful options (I'm becoming a Recorderman technique fan, and use spaced pair often as well) In many circumstances I mic the bottom snare head as well as the ride cymbal, but in this particular case didn't feel that it was necessary. Monitoring for the gig was via a mix of IEMs and Wedges (10 mixes). The Sennheiser G2 rig and antenna distro I bought from Jim Bowersox has gotten a lot of use and been a reliable workhorse. For those using an IEM rig without a good external antenna system, you're missing out in terms of reliability. This gig was recorded and filmed which will make for some nice memories. As this is only partially audio related, feel free to move to the basement if it makes more sense there. Cheers Jeff [/QUOTE]

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