On October 6, 2018, a large number of Earthworks microphones were used at the Saturday Night ROCK Show held in commemoration of the 30th anniversary of the historic live house, Club Città in Kawasaki, Kanagawa, Japan.
Saturday Night ROCK Show is a live tribute of RC Succession’s historical name board “Rhapsody” led by Reiichi Nakaido, Naoto Takenaka, Chisato Moritaka, Masayoshi Yamazaki, and Kyouko of Barbee Boys, Konata et al.
Mr. Bunshiro Hote of MSI Japan, who was in charge of FOH mixing for the show, gave us the opportunity to take photos during rehearsal. Media Integration (Earthworks’ exclusive distributor in Japan) sits down with drummer Yuko Araki and FOH Bunshiro Hote to get their impressions on Earthworks microphones.
SR25 and DM20 Installed on Yuko Araki Drum Set
There are two Earthworks SR25s in the overhead, 7 DM20s are used above and below all the toms and rides, hats, snares, and Audix Microphones D6 is used for the kick.
Dedicated metal fittings for attaching directly to the rim are attached to the DM20.
Gooseneck of DM20 with large movable range.
Ms. Yuko Araki’s First Impressions of the DM20
Interviewed by Media Integration (MI), Earthworks’ distributor in Japan.
MI : I was told that the Earthworks DM20 was used for the first time during rehearsal, but as a player, was there a moment that felt different with the drum microphones that you used up to now?
Ms. Yuko Araki: Yes. As I feel, first of all, since harmonics come in so much, I think that it is probably natural, but I hear overtones too much, and the place where I cannot always hear impressions coming directly into my ear monitors was a recording sound like “It’s not my drum.”
There really are a lot of overtones. I put it to mute the harmonic over there, but as it was more emphasized it seems to me puzzled and I consult with the PA team “Sounds too natural, but what should I do?” I did it (laugh). If I use this microphone, I thought that the PA team should understand well and cooperate with the characteristics and my tuning condition.
MI : Like almost all Earthworks products, this microphone has a very small diaphragm. Looking at the frequency characteristics, it extends out very flat. Numbers are always attached to the model number, but if it is 20, there are some 50 in it, but that number shows how far the high range extends, flat up to 20 kHz with this mic here. It is not something seasoned for the drums, so it may be the reason you felt so.
With that feeling rehearsing is finished, did you manage ear monitors somehow in time?
Yuko Araki : Although I muted a little, basically it is the type of looking at the state as it is also a type of looking at the state a bit.
MI : Is there not something like that you adjusted with EQ on the monitor desk?
Yuko Araki : I do not do today. I really wanted to try it, but this time live has a lot of musicians involved so I did not have time to ask for adjustments on the monitor. Adjusting the monitor, I’d love to try it. I am interested, for example, to feel compressed for a while or what will happen if we adjust it.
In the position of the PA team, I think that there is absolutely no such thing as “if you use this microphone this kind of tuning is better”. “Well, I will do this on a trial, but how about with this?” If you have plenty of time, you can do that kind of exchange, so I think that you can make good use of microphones. Because it was a big event this time … I think that you can tell various stories again when you consult with the staff several times.
MI : Next time, I would like to hear the impression of the player, how was the microphone attached with the clip to the tom body like this?
Yuko Araki : The adjustment of the microphone is slightly different depending on the day, the place changes slightly depending on which is more than which, so even if you set it up as usual, there are times when you may want to make fine adjustments after all. It is easy to adjust if it is such a microphone. I like it.
MI : Thank you very much. Actually, the previous model was a similar gooseneck, but if it was a drummer who was quite powerful, there was a case that it moved a bit with vibration, did not this happen this time?
Yuko Araki : I did not feel it. I think that probably did not. Even when I saw it from the table with that microphone I do not have to be surrounded by a lot of stands, so I feel so refreshed, I like it for a live oriented look. Something cute feeling (lol).
Interview with Mr. Bunshiro Hote, FOH Engineer
MI : This time we will interview the microphones for drums, but Earthworks microphones are also used for vocals.
Mr. Bunshiro Hote : I agree. I also have SR40V for vocals. Actually he will appear in today’s live, Mr. Yamazaki Masayoshi’s crew uses the SR25 for the piano. I used two on the piano and also two for the w-inds. live show..
MI : Thank you for your patronage. There are many other kinds of microphones for drums, but this DM20, the look is also distinctive. For you, what is the difference with other drum microphones?
Encounter with Earthworks
Bunshiro : I came across this microphone in 2008. I saw the SR25 live at Nine Inch Nails and Dream Theater concerts and thought that something is good. You can listen to the sound and it is shorter than other pencil type microphones so it is easy to use with PA. There was a DVD that Jason Bonham consolidated at Earthworks at the time of the reunion of Led Zeppelin in 2008, when I heard it at home, I thought, “Something in the drum sound is completely different.” The sound of the drum was different from the player ‘s problem, but the sound of the mix was different. On Coldplay’s 2012 world tour, the DP30/C, the DM20’s predecessor was also used. If you listen to this on a DVD, the sound is different compared to other live mixes. I wanted to get there somehow, but the the complete set of Earthworks drum microphones costed about 1 million yen.
While I was doing that, I found this new DM20 at InterBEE. Try using it completely different. Since it can not be attached to the snare with a clip, the top and bottom of the snare and the hi-hat stand on the stand in place of another holder. After all the drum sound is an important position for the mix which occupies about 80% of what is called in music, and also where personality comes out. I think that mic is a favorite thing so it would be better to use something that favored the taste of the engineer, but this microphone was “suitable for me, it is right for me!” There it was. With a conventional microphone, the backside of the microphone only goes down about -16 dB, but this microphone seems to be -36 dB lower. That is, there is little bleed. Hi-hat can aim the gooseneck outward so that the sound of the snare is difficult to enter, and it can be installed very flexibly. I think that having less bleed is an indispensable element to bring out the individuality of sound. I thought that “This is a very weapon in my life” is a major reason for introducing this.
MI : It may be difficult to accurately express the impression of sound with words, but how is the DM20 sound?
Bunshiro : Earthworks microphones are natural for anything you use. That’s why I use SR25 for electric guitar cab. The sound of the cab when recorded is very real. I also use it for the piano, but what is it … called real? Is it realistic, but natural? Should I say that sound does not feel the existence of microphone? Many other manufacturer’s microphones make the manufacturer’s character feel, but Earthworks does not make the manufacturer’s character feel, and the range is very wide. Even listening to the recording is completely different. When the drummer is using in-ear monitors, listening to the sounds is often surprised to be “which microphone do you use??”
MI :As before, Yuko Araki said the same thing.
Bunshiro : Recently, I returned the sound of the DM20 to the drummer who is useing in-ear monitors, and took a picture of the mic saying “This is something completely different.” Although it is not a cheap microphone, it is not expensive compared to the old condenser microphone. I want you to use more. As more places are used, it becomes power of makers, I think that it is good if you make the next good microphone.
MI : Thank you very much. A live console compatible with 96 kHz is also coming out, and I wonder if better resolution can be taken if resolution increases.
Bunshiro : That’s right. You can understand the difference very much. I occasionally use Avid S6L. I also used it in Ultra Japan. Even if I change from Avid Profile to S6L, the world will change. Recently People have a tendency to go to every effect, plug-in or outboard, but I think that “Why do not you change the microphone?” Changing the microphone will change the character most. I learn interesting places in the work of artists in Japan, and sometimes I know new ways to use on the net. I want to greedily do what I thought is good and I want to make it my skill. If you have a good microphone it does not matter 48k or 96k.
Actually, kick only actually does not use Earthworks, but it has become a weapon to make up his own color, mix color, including such places.
Story courtesy of Media Integration.