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Its all down the the individual. Some people want to hear the click, others a full mix, others want the vocals taking out or the bass taking out or whatever. It's called a monitor mix

 

given most headphone adaptors are no more than a quid I would start using your interface properly and see if it helps

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  • 1 month later...
Just watched the review video and it sounds good!

 

Yeah, it's pretty nice. It does sound a tad .. artificial? But not bad at all... actually an improvement :facepalm:

 

Seems to work nicely with amp line out > USB interface > mac with cubase

 

Next thing I'm going to try is the line out on my attenuator/load box for the amps that don't have a line out jack.

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  • 7 months later...

Bumping the thread, because I can. I finally got stands and what not to try out my overhead mics today (I accidentally a whole mic, grrr) but I was able to try out the "recorderman" setup today. To be honest, I was kind of happy with how it turned out. The snare sounded shit, but that's because it actually sounds shit.

 

In the mean time while my mics are being um... repaired, I have questions. I have 3 SM57's and a Beta 52 inbound for recording the drums. I haven't got the greatest idea where to place them. I'm thinking snare, toms and hi-hat with the 57's, kick with the 52 and we might add the NT1A as a room mic. Would that be a decent setup? If so, would how I position the overheads be more important or could I get away with a setup similar to today?

 

Oh, should just add a demo clip too of the overhead setup today, cause I can. Ignore my drummer friend, he just likes to show off and was trying to do strange time signatures at one point. :LOL: No mixing, just a slight pan on each channel. Is this a reasonable sound?

 

[soundcloud]

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I'll try and listen at some point, but you know how shite I am...

 

If you're getting a good sound from your overheads, you probably won't need to close-mic the hats. I'd rather have two 57s on the snare instead. If you stick them on the opposite side to the drummer, pointing at the middle of the drum (I think it'd be about 35 degrees or whatever) that'll be fine.

 

The main thing is to get a nice stereo image from your overheads. Make sure it's all in phase and that the kick and snare are in the middle.

 

Oh yeh, point your kick mic at the beater FFS. If you can, experiment with the distance from the head 'cos different kick drums will prefer different placements.

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Hmm, interesting you say that about the hi-hat mic. If I was to do two on the snare, I'd probably be going for top and bottom snare mics. I can't decide whether or not the hi-hats sound good but I guess I might experiment with which mic setup I prefer when they arrive.

 

I'm also going to try some overhead mic techniques. I'm just still amazed at how the recorderman setup went. It sounds better than our last studio recordings and really diminishes the fact we were just in a very poorly acoustically treated room. :LOL:

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Bumping the thread, because I can. I finally got stands and what not to try out my overhead mics today (I accidentally a whole mic, grrr) but I was able to try out the "recorderman" setup today. To be honest, I was kind of happy with how it turned out. The snare sounded shit, but that's because it actually sounds shit.

 

In the mean time while my mics are being um... repaired, I have questions. I have 3 SM57's and a Beta 52 inbound for recording the drums. I haven't got the greatest idea where to place them. I'm thinking snare, toms and hi-hat with the 57's, kick with the 52 and we might add the NT1A as a room mic. Would that be a decent setup? If so, would how I position the overheads be more important or could I get away with a setup similar to today?

 

Oh, should just add a demo clip too of the overhead setup today, cause I can. Ignore my drummer friend, he just likes to show off and was trying to do strange time signatures at one point. :LOL: No mixing, just a slight pan on each channel. Is this a reasonable sound?

 

[soundcloud]

[/soundcloud]

 

I personally dont like the recorderman technique... I think it's not punchy enough, the snare needs more attention. having said that, too much attention on the snare can make it sound too dark and dull, I find pencil condensers good for snares which some people find terrible :LOL:

 

I used an NT1 today as an overhead - it was fucking brilliant. It sounded awesome not too close, and picked up the crash beautifully, and softer ride hits.

 

I was also recording a guitar also and an NT1 to pick up the room with an SM57 next to the cab, and after the recording someone came in and started jamming on the drum kit I was about to mic up - the NT1 was on the other side of a fairly big room and it picked up the whole drumkit absolutely beautifully - I was tempted to leave it there for my actual drum recording I was about to set up!

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I personally dont like the recorderman technique... I think it's not punchy enough' date=' the snare needs more attention. having said that, too much attention on the snare can make it sound too dark and dull, I find pencil condensers good for snares which some people find terrible :LOL:[/quote']

See, odd you say that. I can't call the drums punchy at all with the recorderman technique but I can call it clear. I'd have an easier time mixing that than the muddiness in the recording from the studio we went to last. If I was to add more mics into the mix with it I could say it would make it a lot more punchy. If anything though, it puts a lot of attention on the snare and I can't see how it couldn't. The stereo image is slightly weird though but it exists which is nice.

 

I used an NT1 today as an overhead - it was fucking brilliant. It sounded awesome not too close, and picked up the crash beautifully, and softer ride hits.

 

I was also recording a guitar also and an NT1 to pick up the room with an SM57 next to the cab, and after the recording someone came in and started jamming on the drum kit I was about to mic up - the NT1 was on the other side of a fairly big room and it picked up the whole drumkit absolutely beautifully - I was tempted to leave it there for my actual drum recording I was about to set up!

I used the NT1A as a kick mic for lulz with my overheads and it beefed up the kit a little bit by picking up everything else just slightly so it was a nice addition to have. I find the NT1's too bright for use as overheads by itself but for filling up the sound with other overheads as a room mic, it is brilliant. The NT1 is our vocal mic and we also tried using one of the overhead mics combined with it for vocals and for the first time ever, we got the sound combination we wanted for vocals by making a simple HPF on the overhead and leaving the NT1 natural.

 

That said, a plonked NT1 recording the room sounds good when we want to just get ideas down and recorded as a band. :)

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See, odd you say that. I can't call the drums punchy at all with the recorderman technique but I can call it clear. I'd have an easier time mixing that than the muddiness in the recording from the studio we went to last. If I was to add more mics into the mix with it I could say it would make it a lot more punchy. If anything though, it puts a lot of attention on the snare and I can't see how it couldn't. The stereo image is slightly weird though but it exists which is nice.

 

 

I used the NT1A as a kick mic for lulz with my overheads and it beefed up the kit a little bit by picking up everything else just slightly so it was a nice addition to have. I find the NT1's too bright for use as overheads by itself but for filling up the sound with other overheads as a room mic, it is brilliant. The NT1 is our vocal mic and we also tried using one of the overhead mics combined with it for vocals and for the first time ever, we got the sound combination we wanted for vocals by making a simple HPF on the overhead and leaving the NT1 natural.

 

That said, a plonked NT1 recording the room sounds good when we want to just get ideas down and recorded as a band. :)

 

That's true, they are really bright - I used SM57s on the snare earlier and the combination with the NT1s as overheads picking up the top end balanced it nicely with the dark bottom end being sorted by the Shure I thought.

 

Never thought of having a room mic for vocals - is it 'done' much or an experiment?

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Oh, no I didn't use it as a room mic for vocals. I use both mics with a pop filter similar to how you would do an A/B comparison. The combined sound was good.

 

A room mic wouldn't be a bad idea for vocals if you were recording somewhere atmospheric. I normally like my vocals as dry as possible and then add effects later but I suppose you can do anything in the world of recording if it works out well.

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Oh, no I didn't use it as a room mic for vocals. I use both mics with a pop filter similar to how you would do an A/B comparison. The combined sound was good.

 

A room mic wouldn't be a bad idea for vocals if you were recording somewhere atmospheric. I normally like my vocals as dry as possible and then add effects later but I suppose you can do anything in the world of recording if it works out well.

 

Oh, I did think I miss read it :LOL:

 

Yep, agreed, it's all about the sound of the result, not so much the process. Obviously good processes will result in a good sounding recording, but the listener isn't judging it on how you did it. Another reason why I tend to use my ears instead of completely trusting the gain lights. If a machine says it's clipping but it sounds good, I'd use it! Ah wait I'm rambling again.

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The subject of recording drums is very much influenced by personal taste, which is something we all need to be careful of. For example, I really like the sound of a nicely tuned kit in a room, recorded using two nice overheads and something on the kick. You would be surprised how good that can sound if you have a good room and a good kit. However, it can be problematic if you have an unbalanced kit.

One thing I like to do with the snare is to turn off the snare springs, and find the best top mic position to deliver the punch and body of the drum. You want to really bring out the tone of the shell using comp and eq here. I have occasionally mic'd the shell itself using a nice condenser. Once you've done that, you can turn the snares back on, and stick another little condenser right under to capture the sizzle. Of course, this only applies if you have three spare channels for one drum! Caveat: If the drummer you're recording turns up without a drum key, don't even bother, just mic the toms and use overheads. ;)

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just for fun I did drums for one of my songs with a stereo condensor (NT4) and nothing else. I did have to fuck about for a while to get my kick punching (sum to mono, low pass, expander AND compressor etc) but it sounds fantastic. It wouldn't work for a lot of stuff though.

 

I think if you need something to sound great, and have the gear, it's better to close mic the lot, but only use what you want when you're mixing.

 

If a drummer turns up without a key, or not knowing how to tune, I tend to take over and tune it for him.

 

I've done a lot of room micing on vocals, especially on Emilio Pinchi's stuff. I think it sounds great. I mostly used it instead of reverb plug-ins

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I've got access to a portable recorder with a built in stereo mic and two additional channels and need to record some drums. I was thinking of doing recorderman with the stereo mic for ambiance but maybe I should close mic kick and snare with the stereo mic overhead? Not really going to have time to experiment as it's essentially a field recording in a shitty rehearsal studio and we're on the clock. The mics will be crappy dynamics, if that makes any difference!

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