Hi gang, my band is going to do a "live off the floor" demo session in my basement (24x15ft and low ceiling). Drums and amps will be in the same room. I may do just scratch tracks live for the vox and retrack them later when things are quiet.
2 Vox
1 Taylor Acoustic guitar with inboard active pickup.
2 electric guitars with combo amps
1 bass guitar
1 drummer with 5-pc kit & 3 cymbals.
I have an Edirol UA-1000 and will be feeding the line-in channels of the interface with the preamps and direct outs from my Soundcraft M12 mixer so that we can monitor direct (aux 3-4 out from the M12 into Samson Q5 headphone amp).
Along with the SP/DIF digital out from Aux 1-2 of the Soundcraft, I will have ten channels (8 analog, 2 digital) available to the UA-1000.
The mics I currently have available are:
2 RODE NT1's
1 RODE NT2
1 Revox M3500 dynamic supercardoid
Acoustic guitar and bass will be either going direct using a Radial D2 (passive DI) or I will experiment with acoustic guitar into an ART MPA Pro preamp. Bass into Peavey MAX tube preamp. Then to the board.
I will need 7-8 mics to deploy:
> 2 mics for drum overheads (Can I get away with 1 NT1 here?)
> 1 snare drum mic (Shure SM-57?)
> 1 bass drum mic (rent AKG D112, ATM250, Beta 52 or equiv.)
> 2 vox mics (NT2 on lead, One NT1 on back-up vox)
> 2 guitar cab mics (the Revox M3500 and rent another SM-57)
This set-up means we only have to rent 3 mics, a bass drum mic and 2 SM-57's which should be cheap and easy.
Or maybe rent a couple of small condensers for drum overheads and put one NT1 on the snare or one of the guitar cabs?
Any advice you have on optimum utilization of this grouping would be appreciated.
Thanks!
Comments
Shure Beta series. I've used these alongside the SM series mics
Shure Beta series. I've used these alongside the SM series mics for this specific application (garage style recording) and the Beta's are better at off-axis rejection and maintaining a bright enough tonality so that everything doesn't come out muddy. Although it might make your vocalist sound a bit thin and/or nasally.
Ugh. I know you said "live off the floor", but in a room that sh
Ugh. I know you said "live off the floor", but in a room that shape and size, that is really a mud recipe.
I seriously suggest that you track it all, starting with the bass (via DI) and the drums. If the Taylor acoustic is performing a rhythm role, track it next, but even if it's melody, you will need to track it separately (or possibly with vocals), since the instrument body acts as a microphone diaphragm for the electric guitar amps and kick drum. In addition to the pickup, you really need a mic or two (NT1s?) on a guitar that records as well as a Taylor. Track the two electric guitars next using SM57s on their amps, with the cabinets at right angles to one another and the mics angled hard up against the grilles. Finally, the vocals.
My second serious suggestion is that you BUY the SM57s. You can't do this sort of work without them. You will also need some closed-back headphones for tracking, but if you have the Samson Q5, you are probably already equipped in that department.
NT1s are not the best for drum OH, especially in a low room, but if you don't want to shell out for rental of a pair of NT5s, then try them and see how you like the sound.
PS to Mod - how do we switch off that sonic fan?
Boswell:"PS to Mod - how do we switch off that sonic fan?" I re
Boswell:"PS to Mod - how do we switch off that sonic fan?"
I requested this from audiokid the other day when this character went on a binge. He gave the guy the benefit of the doubt. I was having problems on the MI section with him hijacking threads. Maybe if YOU could PM BT on this, since this clown is not going to stop.... :lol:
From what I hear of condensers, they might make it sound awful b
From what I hear of condensers, they might make it sound awful because they're sensitive to more sound particularly from other directions.
It does depend on the specific mic and position though.