Massive sizes on this one, a 24×22, 13, 16 and 18. These toms were tuned quite low, slightly lower than they were comfortable being at and this meeting the fact that all toms were suspended really upped the resonance. One of the rare circumstances in which this was flattering for the music. Going off the references presented for the drum ambience, hardly any close microphones were used at all. When pulling the faders down on the ambient microphones, 80% of the kit disappeared!

For this setup we had a stereo pair of boundary microphones, one delayed 22 ms and the other 26 ms. There was also our figure 8 blumlein ribbon and a couple LDC’s placed at the back of the room.

For elec. bass we had two amplifiers with a pair of typical microphones on each. I do recall spending a fair amount of time watching speakers for certain notes upsetting the dust cap. With ridiculous doom tones you do have to monitor the whole spectrum of the fretboard and find sympathetic settings to make the sure the output is behaving with the drivers. Don’t get me wrong, some notes popping out and having their abberations isn’t a negative thing.. but in this circumstance they can really oppress your settings.