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anonymous 16 October 2006

I am a recording engineering student and I'm working on my final two projects before graduation. I am looking for advice on mic selection and techniques. It would be nice to beable to experiment until I find something I like but I would rather get some expert advice first. The style is fast pop punk along the lines of New Found Glory and Green Day. I will be recording the band on either an SSL board or a Sony Oxford. We have some decent outboard gear to play with so even if I don't have specific piece of gear that you recommend I can probably substitute something.

Here is the mic list so any ideas you have let me know

AT's - 4033, 4047, 4050, 4060, 4041, 4071a

AKG's - D112, D660s, SE300B, C414, c535EB, C2000B, C3000B

Sennheiser - 421,E604

SM57

SE - 1A, 2, 3, 2200A, 3300A, 5600A, Gemini, R-1

We have multiple of each. Any help you can send I appreciate it and will remember when I'm out there working.

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Comments

anonymous Mon, 10/16/2006 - 18:15

Yes...of course.

Yes they taught us techniques and placement I'm just looking for ideas aimed more towards the sound that I said. Some of the coolest thingss I've found are the little things that might not exactly be the norm. You will hear of everyone using a certain mic or different mics by different people.

RemyRAD Tue, 10/17/2006 - 10:35

Sure, try this.

Drum set: bass drum 421, snare drum 421, toms 421, overheads 414's, hat, any of those little AT's.

Bass guitar: Countrymen FET or SansAmp DI and Beta 52 on the Cabinet.

Guitars on Marshall's: SM57 and E604.

Vocals: Beta/SM58, yup, that's right, screw the condensers.

Put your vocals through a 1176 and track with it.

Mix vigorously and bake for 8 hours. Mmmmmmm delicious!
Ms. Remy Ann David

anonymous Fri, 10/20/2006 - 13:54

Want killer drum sounds? In addition to rooms, overheads, and close miking, take a 414 and put it in the top corner of the room above the drummer pointed at the snare (THIS IS CRITICAL) Now squash the ever-living crap out of it to tape. Im talking beyond compression and into limiting, which I know is a bit of a fluid idea but the point here is a lot. (you want it to sound bad) Now after you have a rough mix slowly bring up the fader until you notice the sound start to change. Leave it alone for a few minutes and then mute that channel. You will think someone just let all of the air out of your drum mix.

mark_van_j Sat, 10/21/2006 - 17:30

NY Compression? :D

SSL has the free VST plugin called the Listen Mic... or something. Sometimes it works with that same technique, sometimes it doesn't.

When recording punk, I tend to follow trends. While "hi-end" production was the name a couple of years ago, lately it's all about dirty and vintage. Get a tape machine and abuse it. Get some tubes and bake eggs on them. Get ripped speakers and mic them up. :twisted:

:D

TVPostSound Sat, 10/21/2006 - 17:57

ezride251 wrote: Want killer drum sounds? In addition to rooms, overheads, and close miking, take a 414 and put it in the top corner of the room above the drummer pointed at the snare (THIS IS CRITICAL) Now squash the ever-living crap out of it to tape. Im talking beyond compression and into limiting, which I know is a bit of a fluid idea but the point here is a lot. (you want it to sound bad) Now after you have a rough mix slowly bring up the fader until you notice the sound start to change. Leave it alone for a few minutes and then mute that channel. You will think someone just let all of the air out of your drum mix.

Credit Lawrence Horn (Motown) for that trick.
I use something similar on VO for commercials!!!!

Mic the drums as stated abovem but dont forget a stereo room configuration.
Many of my rock recordings, we discarded all close mics, and went only with OHs, and rooms.

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