Hypercardioid mics are more open-back, and the polar pattern is less center focused (like an SM57), so the bleed is actually worse. Because they're open-back, they don't reject sound from behind the capsule.
Hey, i'm thinking about purchasing this set so I'm interested as to why you don't rate the D2 and D4? What would be the best mic/mics that I could buy instead of them for the same money? Cheers
I get this question a lot, and honestly, just invest in SM-57s if you don't like the sound of the D2s and D4s. Also, SM-57s will give you less problems because they have tighter polar patterns and a flatter frequency response.
@TheWALOS i'm new to all this. so when you say less problems, what sort of problems are you referring to. i thought it was an advantage for a mic to have a boosted frequency curve for attack -especially toms? what is the benefit of having a tight polar pattern?
It can be, it really depends on what you're looking for. Some people enjoy a coloured frequency response in their mics, especially the overheads. However, generally you're going to want something flat that will accurately capture the sound of the instrument you're recording. So, generally you're only going to really want to use a mic that boosts the attack of your toms if your toms don't have the level of attack that you're looking for.
Also, what is the benefit of a tighter pattern? Reducing bleed. Looser patterns pick up more from the back and sides. Say you had a D2 on your first rack tom right under your crash, when you hit the crash chances are good you're going to pick it up a lot on your D2. If you had an SM-57 there, it rejects enough from the back to make it a non-issue. It makes editing easier, and it sounds better, in my opinion.
@TheWALOS I get it. thank you very much for that. Very informative! What are your thoughts on the shure 98d/s? Would they be better than an SM-57?
I've heard of bleed recently, but could you tell me why it is a problem that one drum is heard through the mic of another? when I sit at my kit and play I can hear all the drums..... so isn't that a good thing for the listener too?
The whole point behind micing the drumkit is to capture each drum/instrument individually, cutting out as much bleed as possible will improve the overall phase coherence of the recording. The reason the kit sounds fine to your ears is because you only have two ears, they're really close together, and your brain evolved to phase-correct all by itself. If you're putting 16 mics on a kit, it's exactly the same as putting 16 ears on the kit, all at differing distances.
Also, you can download Dryrun's album All Fear Aside, I produced it using those mics. It's on iTunes store. If you actually acquire the album, I'd like some feedback, I also played bass on it. ^_^
@TheWALOS Thanks man, and the band sounds good...but hey you should look up my band called For The Fallen either here on youtube or on facebook :) and nice playing on the bass man, sounds bad ass!
we don't have our band name on our vids, so look up your betrayal full band cover, and the chanel name is METAL742617000027- or something like that but yeah tell us what you think.
@TheWALOS hey are you from winnipeg? I believe i saw the name Dryrun in local wnnipeg competitions as well as my band. I'm looking for the DP7 package somewhere around here but can't seem to find it anywhere! Can you give me some info please?!?
Hey, I haven't been with Dryrun in over 8 months, in fact I haven't been playing much music lately, just drums. I ordered my DP-7 from Long & McQuade on Stafford, it took about two weeks.
Nice video. I have particular tastes in Drum Mics. In the old days we would spend more time getting a good drum sound by tuning, changing heads and experimenting with the loaction of the drums in the room. I understand those days are almost gone. Also, most people dont have the $ to spend on the mics I used in the recording studio I worked at. You have to work with what you got and that varies from studio to studio.
I use a Shure beta 52 on kick, but now Im sold on the D6 from Girotubes demo. I want that beater click. I use a 57 on snare, but that I5 has a freq response similiar to what I try to dial in on eq, so I might try that. The SM81 is a better buy for the overheads. Very popular for that. Though I did eventually go for some C414s and retire the 81s to hihat and ride. great for many other sources too. nothing beats the MD 421 for toms in my opinion.
They range from drum-specifc mics to general multi-purpose mics. The only mics that are specifically drum mics are the D2s and the D4. D6 is good on low frequency bass instruments, bass cabs, guitar cabs. You can use the i5 for everything you can use a 57 for. The ADX51s are good for acoustic guitar, room mics, distance micing guitar cabs, maybe even vocals (podcasts, etc).
They're pretty versatile, however I have not found another use for the D2s and the D4.
thanks for the review! i just bought a pair of adx51s on ebay, theres a guy selling them in pairs for 275! almost 200 off musicians friend price.. do you have any audio of these things in action? i bought them because i have the fusion overheads and think they sound great for the money, and am ready to upgrade, and this guy on ebay has got the 51s at an unbeatable price.. thanks again
also i wonder why mic companies dont have audio reviews of every mic they put out?
Mic companies probably don't offer too many sound clips because the output is probably going to be a bit different every time you apply the mic to a sound-source, so to offer sound-clips might be an exercise in futility.
ADX51s are pretty good overhead mics, I use one under the snare and one for the ride cymbal usually, and use two large diaphragm condensers for the overheads. They're good overhead mics, but they definitely have many applications. Worth the money, but I'd upgrade again later.
@TheWALOS Hello. I'm not writing this to flame you for your review - I can see you mean well - just trying to help out your fellow recordisits with some personal advice on the microphones you own. However, there are too many inaccurate details in this review that just seem unfair to me so I'm going to offer a few arguments and corrections to present a different view for those watching this vid.
@TheWALOS First, and most importantly, MOST if not all of the drum kits available are "designed" for use in a live setting. That means they've all been "designed" to eliminate most of the sound of the room you're in and focus the sound of your individual drums in order to reduce bleed from the band and often a terrible stage/location many bands are forced to occupy in clubs. What does this mean? Each mic has a pre-shaped eq curve designed for specific drums based on approximate frequencies.
@TheWALOS In most professional recording studios you would usually NOT choose pre-eq'd dynamic mics because you want to record a bit of the sound of the room and the combined "kit" sound as accurately as possible. However, many of us have terrible drums and terrible rooms to record in and 'close micing' might be an improvement - especially if we're recording loud hard driving music (rock/metal/funk/punk/rap/hip hop/pop or even country). Either way, that's the goal of the Audix D series mics.
@TheWALOS So, on to what's inaccurate: 1) I would argue the D6 is actually the least useful of the drum pak because it's only real applications are heavy kick - maybe floor tom - but, it would over accentuate the lowest frequencies and provide an artificially 'huge' sound that you can't dial out. Even IF that's what you're going for you can compensate with eq and compression with most any other kick mic made but it's harder to remove that low bump when other freq are lacking during tracking.
@TheWALOS Most other kick mics are fairlY balanced in the low end with a reasonably flat response that extends down into the low freq's. You mentioned the D6 has a 'clicky' sound? Maybe more a result of mic placement than the inherent design of the mic as many of the competing mics (Senn E602/MD421/AKG D112) have a more extended high freq range - at least to tape. I personally like the D112 or E602 for musical longevity - your tastes & needs may change - the flatter the better for the future.
@TheWALOS From the video I think you may have the terms cardioid and hypercardioid confused. The D1 and D2 are BOTH hypercardioid mics which means they have the narrowest pickup pattern with excellent isolation and the best rejection of surrounding instruments. Cardiod mics like the D6 and i5 pick up MORE of the neighboring sources but are much better than figure 8 or omni mics at rejecting sound. All things being equal they should capture a more "rounded" or "full" sound than a hypercardiod.
@TheWALOS Also, I think you have the terms "hot" and "high end response" confused. These are not synonyms. The term "hot" describes the "output" or "sensitivity" of a mic - controlled by the electronic portion of the mics design - (eg: capacitor or condenser / FET / tube / dynamic magnet etc.). The frequency response or "high end response" is a biproduct of the capsule's diaphram. It's size / thickness / material / polarity / charge and/or composition determine response or dynamic range.
@TheWALOS I agree with your synopsis of the i5. Underrated and excellent for many sources. I totally disagree that either the D2 or D4 are 'throw away' mics. I think they're vastly superior in build and response for micing a quality drum kit. They're tailored for toms. Sadly, 90% of toms in this world are untuned, beaten down useless shiiit. The D2 and D4 will both give you a much better result with high quality toms. Examples: Carter Beauford (Dave Matthews Band) or Walfredo Reyes Jr..
@TheWALOS I'm not sure where you're getting the open back idea? None of these mics have 'open backs'. If you unscrew the windscreens you will find the diaphram on top - mounted as nearly all dynamic mics would - suspended by it's capsule which includes the magnet and coil behind the diaphram as part of the solid body of the mic. These mics all fire straight from the end of the windscreen just like a SM57. The diaphrams are different sizes. The larger the diaphram, the lower the response.
@TheWALOS The ADX 51's: If you take any small diaphram condenser, plug it in and listen through headphones and you'll hear a hyped up sound (slightly bigger than life with a bump in higher frequencies. Drum kit overhead mics are generally designed with two purposes in mind: one studio, the other live. Live overheads are designed to get high freq info into the mains so the people in the back rows can hear more than just a rumble. Studio overheads are designed to capture the whole drum kit!
@TheWALOS Oktava MC012's, for example, are great because they are VERY sizzly and really pronounce that extra high end so you can really hear those cymbols in the PA system in the back of the club. ADX 51's are a nice balanced mic at capturing cymbols and hi hats without tracking sizzle that's not really there. Make sense? They're great mics for all the uses you mention because they're so detailed and clear in high end response. And, you're right, AKG C1000's are warm for studio flavor!
@TheWALOS Last note: For a great example of microphone use check out the masterclasses by Abbey Road Studios and/or the recordings AudixUSA put up on Youtube. They're great! Good luck to you with your tone search!
@TheWALOS P.S. I have absolutely no affiliation with Audix or any manufacturer. I use mics from all sorts of companies and love the wonderful world of choice! :)
so i wanna buy the d6 adn the i5 but your talk on the d4 and d2 is kinda throwing me off as far as buying the hole package, if you were me would u buy the d6 and i5 seperatly then go for say the akgd112 on the floor tom, im looking for a lo end feel, the kinda of sounds i like to get out of my drum set would be easiest compared to the low sounds that you here the drummer from tool play
The D4 and D2s are not useless, they're good mics, but I think even SM57s are better. The D112 sounds amazing on floor toms, or even EV RE20s on the floor toms, or MD421s.
if you're going the cheap route, sm-57s would do for all three.
If you have some cash to throw around, Electro-Voice N/D468s or Sennheiser MD 421s for the rack toms, and an Electro-Voice RE-20 for the floor tom, or even an AKG D112 for the Floor tom, OR you could even buy another D6 for the floor tom.
Im buying the dp7 in 1 week cuz they are affordable for me in my home studio...kinda expected what you were saying bout the d2s and d4. I will keep them for live applications....i already have an AKG d112 which i LOVE for kick drums....cant wait to match it up to the d6.
I guess ill be using the winner on bass drums and the loser on the floor tom...
I paid full price for two D2s and a D4 under the false impression they would be amazing. So many people were raving on about them, but in my opinion they're terrible compared to cheaper options, like (as you say) a SM57 for example.
They definitely have their uses, but they were a bit of a waste of money for me personally because they were essentially no better than what I had before.
One thing I've always believed is that there's not such thing as bad gear, only different applications for which said gear is appropriate.
D2s and D4s are great on hand percussion instruments for example, and they're a little bit more colorful than a 57 if that's the sound you'd be looking for.
seth rogen.
zkranz0 5 months ago
D2 hyper cardioid=less bleed no?
JTLmusicWEB 6 months ago in playlist Roland V Drums
@JTLmusicWEB
Hypercardioid mics are more open-back, and the polar pattern is less center focused (like an SM57), so the bleed is actually worse. Because they're open-back, they don't reject sound from behind the capsule.
TheWALOS 6 months ago
Hey, i'm thinking about purchasing this set so I'm interested as to why you don't rate the D2 and D4? What would be the best mic/mics that I could buy instead of them for the same money? Cheers
pendersky 11 months ago
@pendersky
I get this question a lot, and honestly, just invest in SM-57s if you don't like the sound of the D2s and D4s. Also, SM-57s will give you less problems because they have tighter polar patterns and a flatter frequency response.
TheWALOS 11 months ago
@TheWALOS i'm new to all this. so when you say less problems, what sort of problems are you referring to. i thought it was an advantage for a mic to have a boosted frequency curve for attack -especially toms? what is the benefit of having a tight polar pattern?
pendersky 11 months ago
@pendersky
It can be, it really depends on what you're looking for. Some people enjoy a coloured frequency response in their mics, especially the overheads. However, generally you're going to want something flat that will accurately capture the sound of the instrument you're recording. So, generally you're only going to really want to use a mic that boosts the attack of your toms if your toms don't have the level of attack that you're looking for.
TheWALOS 11 months ago
@pendersky
Also, what is the benefit of a tighter pattern? Reducing bleed. Looser patterns pick up more from the back and sides. Say you had a D2 on your first rack tom right under your crash, when you hit the crash chances are good you're going to pick it up a lot on your D2. If you had an SM-57 there, it rejects enough from the back to make it a non-issue. It makes editing easier, and it sounds better, in my opinion.
TheWALOS 11 months ago
@TheWALOS I get it. thank you very much for that. Very informative! What are your thoughts on the shure 98d/s? Would they be better than an SM-57?
I've heard of bleed recently, but could you tell me why it is a problem that one drum is heard through the mic of another? when I sit at my kit and play I can hear all the drums..... so isn't that a good thing for the listener too?
pendersky 11 months ago
@pendersky
The whole point behind micing the drumkit is to capture each drum/instrument individually, cutting out as much bleed as possible will improve the overall phase coherence of the recording. The reason the kit sounds fine to your ears is because you only have two ears, they're really close together, and your brain evolved to phase-correct all by itself. If you're putting 16 mics on a kit, it's exactly the same as putting 16 ears on the kit, all at differing distances.
TheWALOS 11 months ago
@pendersky
I might actually just make a video to explain it, it's really complicated.
TheWALOS 11 months ago
@pendersky
/watch?v=RdLOnf63zgk
I answered your question in a video, because it would take way too long to answer here.
TheWALOS 11 months ago
hey man nice vid, but cam we get a vid demonstrating the mics like, on a drumset?
Thanks for the other uses for the mic, they were useful.
McDrummer15 1 year ago
@McDrummer15
watch?v=KGcDCn0m9bE
TheWALOS 1 year ago
@McDrummer15
Also, you can download Dryrun's album All Fear Aside, I produced it using those mics. It's on iTunes store. If you actually acquire the album, I'd like some feedback, I also played bass on it. ^_^
TheWALOS 1 year ago
@TheWALOS Thanks man, and the band sounds good...but hey you should look up my band called For The Fallen either here on youtube or on facebook :) and nice playing on the bass man, sounds bad ass!
we don't have our band name on our vids, so look up your betrayal full band cover, and the chanel name is METAL742617000027- or something like that but yeah tell us what you think.
McDrummer15 1 year ago
@TheWALOS hey are you from winnipeg? I believe i saw the name Dryrun in local wnnipeg competitions as well as my band. I'm looking for the DP7 package somewhere around here but can't seem to find it anywhere! Can you give me some info please?!?
Synetik4 11 months ago
@Synetik4
Hey, I haven't been with Dryrun in over 8 months, in fact I haven't been playing much music lately, just drums. I ordered my DP-7 from Long & McQuade on Stafford, it took about two weeks.
TheWALOS 11 months ago
@TheWALOS yeah i was there today and was going to order it but it was gonna cost me like 1500$. i found a site online that offers it for a grand
Synetik4 11 months ago
@Synetik4
The mics are tough as balls and pretty much never break, so if you can, find them on kijii and get them used. $800 max.
TheWALOS 11 months ago
Nice video. I have particular tastes in Drum Mics. In the old days we would spend more time getting a good drum sound by tuning, changing heads and experimenting with the loaction of the drums in the room. I understand those days are almost gone. Also, most people dont have the $ to spend on the mics I used in the recording studio I worked at. You have to work with what you got and that varies from studio to studio.
marcusdolby1 2 years ago
I use a Shure beta 52 on kick, but now Im sold on the D6 from Girotubes demo. I want that beater click. I use a 57 on snare, but that I5 has a freq response similiar to what I try to dial in on eq, so I might try that. The SM81 is a better buy for the overheads. Very popular for that. Though I did eventually go for some C414s and retire the 81s to hihat and ride. great for many other sources too. nothing beats the MD 421 for toms in my opinion.
TheProgmagog 2 years ago
are these just regular mics or specifically for drums?
DrummerNiveK 2 years ago
They range from drum-specifc mics to general multi-purpose mics. The only mics that are specifically drum mics are the D2s and the D4. D6 is good on low frequency bass instruments, bass cabs, guitar cabs. You can use the i5 for everything you can use a 57 for. The ADX51s are good for acoustic guitar, room mics, distance micing guitar cabs, maybe even vocals (podcasts, etc).
They're pretty versatile, however I have not found another use for the D2s and the D4.
TheWALOS 2 years ago
the d4 is suppost to be an excellent bass cab mic
JacobTheDrummar 2 years ago
even better than the d6!
JacobTheDrummar 2 years ago
seth rogan talking about audix mics!! lol hahaha great video
jaydx376 2 years ago
thanks for the review! i just bought a pair of adx51s on ebay, theres a guy selling them in pairs for 275! almost 200 off musicians friend price.. do you have any audio of these things in action? i bought them because i have the fusion overheads and think they sound great for the money, and am ready to upgrade, and this guy on ebay has got the 51s at an unbeatable price.. thanks again
also i wonder why mic companies dont have audio reviews of every mic they put out?
Dunford00 2 years ago
Mic companies probably don't offer too many sound clips because the output is probably going to be a bit different every time you apply the mic to a sound-source, so to offer sound-clips might be an exercise in futility.
ADX51s are pretty good overhead mics, I use one under the snare and one for the ride cymbal usually, and use two large diaphragm condensers for the overheads. They're good overhead mics, but they definitely have many applications. Worth the money, but I'd upgrade again later.
TheWALOS 2 years ago
@TheWALOS Hello. I'm not writing this to flame you for your review - I can see you mean well - just trying to help out your fellow recordisits with some personal advice on the microphones you own. However, there are too many inaccurate details in this review that just seem unfair to me so I'm going to offer a few arguments and corrections to present a different view for those watching this vid.
TORSPASS 1 year ago
@TheWALOS First, and most importantly, MOST if not all of the drum kits available are "designed" for use in a live setting. That means they've all been "designed" to eliminate most of the sound of the room you're in and focus the sound of your individual drums in order to reduce bleed from the band and often a terrible stage/location many bands are forced to occupy in clubs. What does this mean? Each mic has a pre-shaped eq curve designed for specific drums based on approximate frequencies.
TORSPASS 1 year ago
@TheWALOS Correction: "drum mic kits"
TORSPASS 1 year ago
@TheWALOS In most professional recording studios you would usually NOT choose pre-eq'd dynamic mics because you want to record a bit of the sound of the room and the combined "kit" sound as accurately as possible. However, many of us have terrible drums and terrible rooms to record in and 'close micing' might be an improvement - especially if we're recording loud hard driving music (rock/metal/funk/punk/rap/hip hop/pop or even country). Either way, that's the goal of the Audix D series mics.
TORSPASS 1 year ago
@TheWALOS So, on to what's inaccurate: 1) I would argue the D6 is actually the least useful of the drum pak because it's only real applications are heavy kick - maybe floor tom - but, it would over accentuate the lowest frequencies and provide an artificially 'huge' sound that you can't dial out. Even IF that's what you're going for you can compensate with eq and compression with most any other kick mic made but it's harder to remove that low bump when other freq are lacking during tracking.
TORSPASS 1 year ago
@TheWALOS Most other kick mics are fairlY balanced in the low end with a reasonably flat response that extends down into the low freq's. You mentioned the D6 has a 'clicky' sound? Maybe more a result of mic placement than the inherent design of the mic as many of the competing mics (Senn E602/MD421/AKG D112) have a more extended high freq range - at least to tape. I personally like the D112 or E602 for musical longevity - your tastes & needs may change - the flatter the better for the future.
TORSPASS 1 year ago
@TheWALOS From the video I think you may have the terms cardioid and hypercardioid confused. The D1 and D2 are BOTH hypercardioid mics which means they have the narrowest pickup pattern with excellent isolation and the best rejection of surrounding instruments. Cardiod mics like the D6 and i5 pick up MORE of the neighboring sources but are much better than figure 8 or omni mics at rejecting sound. All things being equal they should capture a more "rounded" or "full" sound than a hypercardiod.
TORSPASS 1 year ago
@TheWALOS Also, I think you have the terms "hot" and "high end response" confused. These are not synonyms. The term "hot" describes the "output" or "sensitivity" of a mic - controlled by the electronic portion of the mics design - (eg: capacitor or condenser / FET / tube / dynamic magnet etc.). The frequency response or "high end response" is a biproduct of the capsule's diaphram. It's size / thickness / material / polarity / charge and/or composition determine response or dynamic range.
TORSPASS 1 year ago
@TheWALOS I agree with your synopsis of the i5. Underrated and excellent for many sources. I totally disagree that either the D2 or D4 are 'throw away' mics. I think they're vastly superior in build and response for micing a quality drum kit. They're tailored for toms. Sadly, 90% of toms in this world are untuned, beaten down useless shiiit. The D2 and D4 will both give you a much better result with high quality toms. Examples: Carter Beauford (Dave Matthews Band) or Walfredo Reyes Jr..
TORSPASS 1 year ago
@TheWALOS I'm not sure where you're getting the open back idea? None of these mics have 'open backs'. If you unscrew the windscreens you will find the diaphram on top - mounted as nearly all dynamic mics would - suspended by it's capsule which includes the magnet and coil behind the diaphram as part of the solid body of the mic. These mics all fire straight from the end of the windscreen just like a SM57. The diaphrams are different sizes. The larger the diaphram, the lower the response.
TORSPASS 1 year ago
@TheWALOS The ADX 51's: If you take any small diaphram condenser, plug it in and listen through headphones and you'll hear a hyped up sound (slightly bigger than life with a bump in higher frequencies. Drum kit overhead mics are generally designed with two purposes in mind: one studio, the other live. Live overheads are designed to get high freq info into the mains so the people in the back rows can hear more than just a rumble. Studio overheads are designed to capture the whole drum kit!
TORSPASS 1 year ago
@TheWALOS Oktava MC012's, for example, are great because they are VERY sizzly and really pronounce that extra high end so you can really hear those cymbols in the PA system in the back of the club. ADX 51's are a nice balanced mic at capturing cymbols and hi hats without tracking sizzle that's not really there. Make sense? They're great mics for all the uses you mention because they're so detailed and clear in high end response. And, you're right, AKG C1000's are warm for studio flavor!
TORSPASS 1 year ago
@TheWALOS Last note: For a great example of microphone use check out the masterclasses by Abbey Road Studios and/or the recordings AudixUSA put up on Youtube. They're great! Good luck to you with your tone search!
TORSPASS 1 year ago
@TheWALOS P.S. I have absolutely no affiliation with Audix or any manufacturer. I use mics from all sorts of companies and love the wonderful world of choice! :)
TORSPASS 1 year ago
nice review. thanks
nanrick14 2 years ago
This is a great informative video. Tanks :)
MK103833 2 years ago
how much is this kit?
KG739 2 years ago
anywhere between $800-$1000, but you might be able to snag it for less on ebay
TheWALOS 2 years ago
thanks
KG739 2 years ago
so i wanna buy the d6 adn the i5 but your talk on the d4 and d2 is kinda throwing me off as far as buying the hole package, if you were me would u buy the d6 and i5 seperatly then go for say the akgd112 on the floor tom, im looking for a lo end feel, the kinda of sounds i like to get out of my drum set would be easiest compared to the low sounds that you here the drummer from tool play
LeperMessiah3 2 years ago
The D4 and D2s are not useless, they're good mics, but I think even SM57s are better. The D112 sounds amazing on floor toms, or even EV RE20s on the floor toms, or MD421s.
TheWALOS 2 years ago
what would you recommend for use on toms as opposed to the D2s and D4s?
ameliorate2695 2 years ago
if you're going the cheap route, sm-57s would do for all three.
If you have some cash to throw around, Electro-Voice N/D468s or Sennheiser MD 421s for the rack toms, and an Electro-Voice RE-20 for the floor tom, or even an AKG D112 for the Floor tom, OR you could even buy another D6 for the floor tom.
TheWALOS 2 years ago
thanks this helped a lot
ameliorate2695 2 years ago
some sound files would have been great.
Im buying the dp7 in 1 week cuz they are affordable for me in my home studio...kinda expected what you were saying bout the d2s and d4. I will keep them for live applications....i already have an AKG d112 which i LOVE for kick drums....cant wait to match it up to the d6.
I guess ill be using the winner on bass drums and the loser on the floor tom...
gruponemesis 2 years ago
I paid full price for two D2s and a D4 under the false impression they would be amazing. So many people were raving on about them, but in my opinion they're terrible compared to cheaper options, like (as you say) a SM57 for example.
openwindowrecords 2 years ago
I wasn't terribly impressed with them, but not completely dissatisfied either.
TheWALOS 2 years ago
They definitely have their uses, but they were a bit of a waste of money for me personally because they were essentially no better than what I had before.
They're pretty good in a live situation though :)
openwindowrecords 2 years ago
One thing I've always believed is that there's not such thing as bad gear, only different applications for which said gear is appropriate.
D2s and D4s are great on hand percussion instruments for example, and they're a little bit more colorful than a 57 if that's the sound you'd be looking for.
TheWALOS 2 years ago