AmnestysLowEnd":3ujywhn5 said:
The point of the port in the reso is to get the mic inside the drum. This lets you control how much of the attack you are going to be getting, no hole makes it harder to get the beater's attack. Also when playing live it makes it way easier to control "bleeding" or other sound sources being picked up by the mic. It isn't necessary to port your reso but don't try to lump sound guys into the "You have no fucking clue what your doing" category when you don't know the full reasoning behind the technique
I just mention this from experience and I'm not lumping All sound guys, just most. Putting the mic inside the bass drum isolates nothing. In fact having two diaphragms (bass drum heads) on either side of the microphone when placed inside the bass drum actually accentuates other outside sources such as guitar and bass amps as they bounce from the heads of the bass drum. Get the mic out of the bass drum and you'll find a decrease of about 10 or 20 decibels of noise and rumble, depending on how everything is arranged on the stage or studio. If you need more attack, just mic the batter head, it's as easy as that, plus you'll be able to dial in exactly the amount of attack you desire. Most sound guys have absolutely no training other than what the bartender showed them. Most know how to follow color codes on the mic cables to follow them back to their faders but most have no idea how microphone placement affects the sound of the instrument from which they're trying to achieve the most accurate sound reproduction. If they had more extensive training, they probably wouldn't be working in small clubs and bars.
Sorry, but I've put up with some of their clueless activities for over forty five years. It's ridiculous saying that they need a hole in the bass drum head to be able to mic the kit.
Dennis