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the above method would leave you with a mono sound, not really acceptable for anything better than a demo

 

Google "recorderman method". i can't remember the proper name. You set up one mic over the rack tom, pointing at the snare, and another mic over the floor tom pointing at the snare. Get some tape or string or something and make sure both mics are the same distance from the middle of the snare, and the kick... So both mics must be X from the snare and Y from the kick (make sense?)

 

this method combine with a kick drum would be the minimum for me. If you only have two channels, use this method but in your daw bounce both tracks to a mono, high pass it, fuck about etc, and you can use that as your kick drum channel.

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the above method would leave you with a mono sound, not really acceptable for anything better than a demo

 

Google "recorderman method". i can't remember the proper name. You set up one mic over the rack tom, pointing at the snare, and another mic over the floor tom pointing at the snare. Get some tape or string or something and make sure both mics are the same distance from the middle of the snare, and the kick... So both mics must be X from the snare and Y from the kick (make sense?)

 

this method combine with a kick drum would be the minimum for me. If you only have two channels, use this method but in your daw bounce both tracks to a mono, high pass it, fuck about etc, and you can use that as your kick drum channel.

 

I would prefer spaced over XY nearly every time because of literally that - space. I find that a well positioned spaced pair provides far superior imagery and captures the essence of the kit that much better. XY gives good imagery and you don't have to worry about phase really. Its all opinion though - thats just what I would use. The technique you are talking about is glyn-johns and yeah that too is a great technique - it all depends on the sound you are going for.

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...and you don't have to worry about phase...

 

hah, that's why I prefer it really. Having perfect phase ensures plenty of attack.

 

I did the album (link in sig) with a spaced pair of condensors, and an old Sony stereo mic in the room. I did spend ages measuring for the overheads though. I've been using my NT4 stereo mic as overheads recently, to save time, and I love the sound of it.

 

It sounds like you know your shit anyway - i'd be very interested to get your opinion on the sound of the album if you fancy giving it a listen?

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hah, that's why I prefer it really. Having perfect phase ensures plenty of attack.

 

I did the album (link in sig) with a spaced pair of condensors, and an old Sony stereo mic in the room. I did spend ages measuring for the overheads though. I've been using my NT4 stereo mic as overheads recently, to save time, and I love the sound of it.

 

It sounds like you know your shit anyway - i'd be very interested to get your opinion on the sound of the album if you fancy giving it a listen?

 

I will happily give it a listen tonight through the studio speakers and let you know my thoughts!

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See, I come from the camp of thought that phase is everything, probably a trade off from doing an engineering degree so I'm more than happy to get the tape measure out and fiddle around.

 

I'm also doing the drums in a bedroom with very little reflective sound because it has a sloped roof, good sound insulation, etc. I have enough acoustic foam and "movable walls" and stuff for us to try and tune the best sound we can get. My only fear is we might not get a roomy feel at all but hopefully our condensor mic can be used, just compressed to hell, etc. Worst case scenario is we do the lounge room which means it'll take longer than it's supposed to.

 

It's going to be a fun bit of experimentation so I'm going to take a lot of these tips, try them out and see what we can get out of it. :)

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hah, that's why I prefer it really. Having perfect phase ensures plenty of attack.

 

I did the album (link in sig) with a spaced pair of condensors, and an old Sony stereo mic in the room. I did spend ages measuring for the overheads though. I've been using my NT4 stereo mic as overheads recently, to save time, and I love the sound of it.

 

It sounds like you know your shit anyway - i'd be very interested to get your opinion on the sound of the album if you fancy giving it a listen?

 

Nice sound, what was the budget like? What gear you rocking?

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...My only fear is we might not get a roomy feel at all...

 

just record it dry as possible and play about with reverb after

 

Nice sound, what was the budget like? What gear you rocking?

 

Thanks! This is recorded at my studio, which is just a massive room at the back of the company I work for. It's a very lively sound, but I love it. I have a red audio drum set of mics which I use for kick and toms, and one of the condensors for hats. Then I have 57s on the snare, Karma Audio bullet mics as overheads, some weird old stereo sony mic on the room. I also use my NT2 over the stairwell for extra bass boom.

 

The bass is all DI'd from my pedals, the guitars are all through a H&K Warp 7 SS head and matching 4 x12" with 57s and NT2 or SE2200A. Pre-amps are all through a shitty studiomaster desk I bought for £20, going into M-Audio Delta 1010Lts, mixed and mastered in Cubase

 

From an engineering POV it's not that interesting other than the song "bulletproof" which was recorded all live with vocals through the PA, everything turned up and bleeding all over the drums. There's just one extra layer of guitar.

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just record it dry as possible and play about with reverb after

 

 

 

Thanks! This is recorded at my studio, which is just a massive room at the back of the company I work for. It's a very lively sound, but I love it. I have a red audio drum set of mics which I use for kick and toms, and one of the condensors for hats. Then I have 57s on the snare, Karma Audio bullet mics as overheads, some weird old stereo sony mic on the room. I also use my NT2 over the stairwell for extra bass boom.

 

The bass is all DI'd from my pedals, the guitars are all through a H&K Warp 7 SS head and matching 4 x12" with 57s and NT2 or SE2200A. Pre-amps are all through a shitty studiomaster desk I bought for £20, going into M-Audio Delta 1010Lts, mixed and mastered in Cubase

 

From an engineering POV it's not that interesting other than the song "bulletproof" which was recorded all live with vocals through the PA, everything turned up and bleeding all over the drums. There's just one extra layer of guitar.

 

You got a great sound for the equipment used thats for sure! Sounds pretty standard mic setup-wise, with what you have - was the mixing process pretty heavy then? I would personally have tabbed in lots of samples to give it more of an industrial feel - did you do anything cool like that post-tracking?

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I should have posted what I put in the MP3 thread in here. Top work chedda :) I'm glad that with that gear you posted you were able to push out that.

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Well since the album was done I switched over to my mackie mixer but there's something up with it - too noisey. I have a couple of A&H desks which I should really try out. I just love the sound of that studio master though!

 

You got a great sound for the equipment used thats for sure! Sounds pretty standard mic setup-wise, with what you have - was the mixing process pretty heavy then? I would personally have tabbed in lots of samples to give it more of an industrial feel - did you do anything cool like that post-tracking?

 

Cheers! Getting the drum sound was easy, I'm used to that now. But yeh, everything else took ages, not least because we would mix together, so when I go to tweak the upper mids in the vocals or i'm listening for the right attack setting on the guitar compressor, one of the guys shouts up that the bass isn't bassy enough etc...

 

No drum samples if that's what you mean? I'd rather not use them if I can help it

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Well since the album was done I switched over to my mackie mixer but there's something up with it - too noisey. I have a couple of A&H desks which I should really try out. I just love the sound of that studio master though!

 

 

 

Cheers! Getting the drum sound was easy, I'm used to that now. But yeh, everything else took ages, not least because we would mix together, so when I go to tweak the upper mids in the vocals or i'm listening for the right attack setting on the guitar compressor, one of the guys shouts up that the bass isn't bassy enough etc...

 

No drum samples if that's what you mean? I'd rather not use them if I can help it

 

Yeah nice. And I did mean samples - but nothing too nirvana haha.

 

Have you checked out SPL transient designer? You can drastically change the sound of any drum and give it as much snap as you want - one of the most useful plugins ever for drums - I have worked with a few producers who swear by it and it helps you to craft the drum sounds with the mix without overusing compression/eq. But yeah nice work!

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yeh, i have it but didn't really get on with it. I fully accept it's my own limitations but I just ifnd it easier to use compression to control attack. I should give it another go

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yeh, i have it but didn't really get on with it. I fully accept it's my own limitations but I just ifnd it easier to use compression to control attack. I should give it another go

 

Well the mix is great - the problem with critiquing a good mix is that you enter a realm of opinion once everything is sitting well, balanced out and complimenting the music!

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Thanks very much!

 

I did check out your soundcloud the other night while I was waiting for some exports. It's not really my thing but the sounds are great. I sent the link to my mate, it's exactly the kind of thing he puts on late at night when we're stoned.

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We moved and i got a bigass empty room for my guitar stuff, the problem is that there is a pretty strong reverb going on in the room. (surprisingly it sounds good for clean guitar) I'd rather have the room dry and add verb via pedals/VSTs.

What kind of furniture can lead to a drier sounding room? Drapes? Sofas? Bookshelfs? Carpets? Bags full of clothes? (not really aesthetic but i don't care about that in the guitar room)

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We moved and i got a bigass empty room for my guitar stuff, the problem is that there is a pretty strong reverb going on in the room. (surprisingly it sounds good for clean guitar) I'd rather have the room dry and add verb via pedals/VSTs.

What kind of furniture can lead to a drier sounding room? Drapes? Sofas? Bookshelfs? Carpets? Bags full of clothes? (not really aesthetic but i don't care about that in the guitar room)

 

Curtains or flags on the wall is what I use.

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I'm playing a band battle tonight (song vs.song). We don't have an mics for amps or drums etc. because its such a small venue so I was wondering if anyone has any advice for getting the mix right? We're using a mic (which is using its own PA), a guitar+amp, a bass+amp and drums.

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Get someone to stand in the middle of the crowd bit and tell you whether to turn the guitar/bass/vox louder/quieter until it sound right in comparison to the drums?

 

Simple enough?

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Get someone to stand in the middle of the crowd bit and tell you whether to turn the guitar/bass/vox louder/quieter until it sound right in comparison to the drums?

 

Simple enough?

 

Suppose so. I want to get the mix right because if we win we get to represent our youth club in a national finals and we only get one shot.

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Get someone to stand in the middle of the crowd bit and tell you whether to turn the guitar/bass/vox louder/quieter until it sound right in comparison to the drums?

 

Simple enough?

 

Pretty much this. Make sure it's someone whose judgement you trust and doesn't have a complete tin ear as you might need to play with the way you're EQing the amps as well as the volume to get a decent mix. Nothing beats hearing it yourself though so what we quite often do is for one of us to hop off the stage during the soundcheck and check how things sound from the audience position once we're happy with it on stage. Obviously this requires you to have a long enough cable, relies on you actually getting a soundcheck and isn't really an option if you're a drummer ;)

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Pretty much this. Make sure it's someone whose judgement you trust and doesn't have a complete tin ear as you might need to play with the way you're EQing the amps as well as the volume to get a decent mix. Nothing beats hearing it yourself though so what we quite often do is for one of us to hop off the stage during the soundcheck and check how things sound from the audience position once we're happy with it on stage. Obviously this requires you to have a long enough cable, relies on you actually getting a soundcheck and isn't really an option if you're a drummer ;)

 

Ok then. I have a plan of attack :LOL:

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