Mr Muff Drum Dampening Products – Reviewed

September 6, 2024

Here’s the latest video from the Drummer’s Review Live Room looking at a selection of dampening products from Mr Muff

Featuring…

Mini Muffs (for snare & toms)
Bass Muff (for bass drum)
Muffins (for snare & toms)

“The Mini Muffs feature a synthetic fur muffler with a removable weight and magnet inside which clips onto the rim of the drum via a strong, spring loaded bulldog-style clip.”

Filmed at Paul Caboche Studios (Cornwall, UK), July 2024. Scroll down for recording / production details.

“The Muffin gives a pretty much muted sound which when used in the right musical setting gives a truly authentic retro sound reminiscent of so many classic recordings from the 50’s, 60’s and 70’s.”

Mr Muff Says…“Since 2022, the products of Mr. Muff are manufactured in the Rohema factory. The muffling devices work with an on/off concept. Drummers can use them to create a quick sound change without first having to make complex modifications to the drum set.”

“…the bass muff which gives a lovely, full tone when applied, with the reduction in volume replaced by depth and warmth. “

Pro’s:

Easy to fit in a matter of seconds
Great value for money
Mini Muffs & Bass Muff useful in a variety of situations

Cons:

Muffins may be slightly too much for most situations

“All of the products we’ve looked at here do a great job with the least amount of effort and time to get them in place. We’d have no hesitation using them in either a live or studio session…”

Mr Muff Dampening Product RRP’s:

Mini Muffs: €69.90 (set of four), €21.90 (individual price)

Bass Muff: €32.90

Muffins: €72.00 (set of four – 10″, 12″, 14″, 16″)

For more details, head to: https://www.rohema.de/en/accessories/mr-muff/

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Recording Details:

Filmed at Paul Caboche Studios (Cornwall UK).

Microphone List:

Kick Rear: Audix D6
Kick Front: Electrovoice RE27ND
Snare Top: Electrovoice PL80
Snare Bottom: Electrovoice PL80
Hi Hat: Oktava MK-012-01 Cardio
Ride: Oktava MK-012-01 Cardio
Toms: AKG C414B
Over Head wide: AKG C414B (pair)
Centre Over Heads: AEA R88 MK2 Stereo Ribbon Mic
Front Centre Room : AEA R88 MK2 Stereo Ribbon Mic
Wide Room Mic’s: sE2200T Tube Mic’s (pair)

Recording Process:

Microphone Pre amps: 16x Rupert Neve Designs 5052

Pre amp outs to Avid HD analog to digital converters connected to Avid HDX card

Recorded into Pro Tools Ultimate latest version running HDX cards mounted in an Apple Mac Pro 2019 16core.

Audio Template Details:

No EQ:

Direct microphone sound – no EQ either pre or post recording applied from the Neve 5052 Pre-Amps EQ section.

Basic EQ:

Basic EQ setting using the EQ section of the Neve 5052 mic Pre-Amps. No post recoded EQ or processing applied.

Full Studio Mix:

Post EQ section of the Neve 5052 mic Pre-Amps plus post production EQ, gating, parallel compression and some reverb added to the snare and toms. There was also some room mic processing along with parallel drum bus adding compression and reverb to the overall sound.

A Note From Paul…

“The microphones were set up with the overheads and room mic’s measured to the centre of the snare drum to keep the phase of any stereo pair in phase. The AEA R88 MK2 mic’s being stereo mic’s had no issue with phase but the front centre room mic and centre overhead where aligned with each other to keep the same stereo image. The phase reverse switch on the front kick mic was used to correct the phase between the two bass drum mic’s. The phase reverse switch was engaged on the bottom snare mic to correct the phase between the two snare mic’s. Hi pass filters only used on the hi hat mic, Ride mic and overheads. The AKG C414B mic’s on the toms have very little proximity bass boost so can be considered a pretty flat representation of the toms. The same can be said for the Electrovoice PL80 mic’s on the snare drum. Every effort was made so that the NO EQ sound example audio on the video was as true a representation of what the drums sounded like in the live room. The live room of the studio has been treated to also provide a neutral sound close to the drums with the room mic’s then giving a true representation of what the drums sound like in the room. Using 16 identical Mic Pre amps also helps with electrical phase so there is no difference between tone and phase of the Mic Pre amps. The brief for recoding the drums was to give as true a representation as possible of what the drums actually sound like and to then give examples of what can be done to the sound of the drums.”

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