Audio-Technica AE 3000

As a drummer I like more open and resonant sound - Keith Carlock vibe. I tried so many close miking technics and mics - AKG D40, Sehnheiser E604, Shure Beta 98 d/s and SM57, Beyerdynamic TG D58, EV N/D468 (which I'm realy happy about) and etc. But close miking make the drums sound a bit "chocked" to me, like a hit straight to the face. In a pop-rock scenario that "hit in the face" type of sound is perfect - low tunings, double ply clear heads, but in more kind of a jazz seting or even pop-rock but a bit retro sound with less attack - for example I have DW Maple Mahogany set (short stack sizes) which goes really well with coated heads (Aquarian Modern Vintage Medium top and Texture coated bottom), no hole in the resohead of the bass drum (both heads are Modern Vintage Medium), medium-high tunings and boy those drums sound realy mellow and warm and I tried the Simon Phillips concept, who said that drumset sounds better from a few steps distance, or Terry Bozzio who use only 5 mics on his set - 1 overhead and 4 infront of the set. And since there are a lot producers/sound engineers who make great mono drum sounds, I decided to put on my set only 3 mics - AKG D112 infront of the kick, D40 on snare and Audio-Technica AE 3000 as side-address/overhead, but way lower as placement as regular overhead (in a studio situation) since my toms are leveld with the snare and the cymbals are just a bit higher than them. This way the mic pics all frequensies from the toms (lower end and warmth) and the top clarity of the cymbals. The end result is more natural and balanced sound of the whole set I'm realy happy about. As Terry Bozzio says - we mike a sections of the piano, not every string alone, so why doing it different with a drumset?! The mic itself is small enough and looks realy sturdy - no play in the mesh grill. The 10 db pad is must for close miking but I don't use it as side-address/overhead. The low cut is great too, altough most modern even semi-proffesional mixers has such. Bottom line - great purchase for my needs.
19.7.22 update: I got second one. I realised that ORTF technique makes simpliest natural stereo picture of a small set with just two cymbals - left and ride crash/rides. Specially for dark, overhammered cymbals mono signal is not the best because they get in the way and cancel each other.

Ich spiele Lead/Rhythmus-Gitarre im Blues, BluesRock, Rock Bereich über Marshall JCM-900 (4x EL-34) und die altbekannte 1960-4x12 Box. Abnahme über Sennheiser e-609, e-606, e-906 oder Shure SM-57 oder Audix i-5. All dies war zwar auf Bühne und im Studio o.k., aber immer noch nicht optimal.

Da ich mit diversen Audio-Technica Mikrofonen gute Erfahrung gemacht hatte, kaufte ich mein erstes AE-3000, montierte es an der Marshall 1960, richtete es aus ... und war begeistert. Dieser Großmembraner bringt jede Kleinigkeit, die die Celestions heraus geben, in einer völlig ungefärbten Qualität in mein Digital-Mischpult. Ohne jede EQ-Beeinflussung kommt der originale Marshall Sound aus der PA, als würde man direkt vor der Box stehen. Aber dies ist nicht alles: auch am Schlagzeug (Abnahme aller Toms) bringt das Mikro ohne EQing den ungefärbten Tom-Sound.

Genial. Deshalb habe ich mir bereits das zweite AE-3000 gekauft und spare auf das dritte.