i would wait till you get some more mics :s:

not in jersey dikweed

wotta question-pretty stupid if you ask me...it's an impressive list of mics but no one knows what kind of room it's in, no one knows what kind of instruments or players they are, no one knows what the band wants out of this. Are they paying you for this? really too bad if you are running to your 'internet support group/help desk' for crap like this.

then in other threads you dish out advice like you actually know which end of the mic to plug in:
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"Akg 451s, 414 or U87s always worked for me "

"I found the mic amp not very verstile good for some things like an aggresive vocal (used with the comp) the EQ and the comp is great almost worth the cost of the unit.If I wanted a channel strip with everything Id get The TLA 5052 or save save save and get an Amek "

"If you got a room micmics delay 10-20ms or if you got just OHs try it this will put some life into the drums "

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really...what is it? either you know enough to try a couple things out and get some good sounds and fix what isn't good, or you should sell some of those mics to people who do.

it was just a question i put out there for people like you and me..... no harm done....striking up conversation jeez how serious do you take this, Im just wanna shoot the sh*t so the equip......

fender P bass
1 svt 8*10 cab
1 ashdown to 1*15 and a 4*10
3 toms kick snare ride 2 crashs
gibson les paul
gibson super lead 1*12 and a 1*10
and ld vox
further more its 10*30 room with 15' ceilings
I do know mics and pres and stuff but I am always very interested in what other people "would reach for" furthermore I dont think its a stupid question at all there is no matched pairs or 2 of the same mics except for the small diaphram mics which are cool but for certain apps one my not reach for...............also I dont own any of this stuff a studio does I 'm just workin a gig to have fun and pay the bills

Well, I would love tell you. But this is the kind of thing that would require a lengthy, very specific and very detailed response that falls under client consultation so you would need to pay me for services based on my professional consultation rates.

What style of music? What console, outboard gear? Tell us more. David

How much ya want?
1.the band is rock loud yet dynamic
2.neve vr console
3. not much outboard 4x bss comps 1x la classic
1x 1178, 1x delay I thnk an AMS? and thats about it.

is this your equipment or another studio?

Drums .
first. find the best spot in the room with the floor toms, and plant your kit there. experiment with which way it faces, etc.

1. Over Head, etc (s): at a position over the drummers right shoulder, looking between the beater and the snare listen , to as many if not all f the following mics as possible and pick the best sounding one:

Neumann U87
Neumann TLM 103
Neumann TLM 193
AKG C12
AKG Solidtube
AKG 414

Pick on and make it a single OH. Find the spot that gets a great balance on the kit. Many time where your at (up over the right shoulder) sounds great. other times more up over the snare, etc. listen. you may tweak it again later relative what other mics do to the over all balance.

Pick another and use it out in front of the kit. Repeat the steps above and quickly find the spot that adds dimension. check relative phase.

If you must have stereo OH's, pick the mic with the closest color to the first OH mic you chose, a little eq and level compensation somewhere will fix that.

2.Kick. two mics . A>first start by putting the D112 just in the whole aiming back, between the beater and the edge. EQ; cut a bunch if not all around 560 , and cut some around 200. you can even high pass filter around 40 or 50 if you do B.
B> Get a hold of a good speaker. I use an NS10 but most will do. just hook up the two leads to pins 2 and 3 and plug into a mic pre, etc. It's real loud.
This will give you, if used just a little, all the sub bottom without having to add any to the D112. The D112 can be EQ by cutting to hack a fat punch, with the ns10 adding the tight sub to move the speaker. yum. Print to separate tracks for control.

3. Snare. I'm always fine with sm57, top and bottom. Try orienting the mics more parallel with the heads as a starting position and tilting them towards the skin/snares off of the parallel as needed.

4.Toms. Those clip on could be really cool on the tops of the toms. 604 ? 504? see what sounds best.
extra credit:If you have extra pre's and inputs/tracks, use a left over large diaphragm condenser or dynamic mic as a floor top bottom mic. Blended to and a lower note and dimension the floor toms.
5.Hat. KM184. Put the pad and the hi pass filter on. That's at least how you'll want it in the mix, If you need it.

6. Ride. 421. placed near the ride, it'll pick it up, but being a dynamic it will be less apparent in the mix and be kinda deaf to the other cymbals around it...as opposed to another condenser in the same position (a good thing).

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Bass D.I and a 421 on the amp
Gtr Amps sm57's, 421's up close. A little U87 ambience for the lead/solo tracks.
Vocal Scratch: Sm58 Real takes: Try all the Large Diaphragm condensers, and some of the dynamics. Sometimes the performance you get from am sm57 singing in the control room with the monitors on is better than on headphones with an expensive condenser. In a rock track you do not always need a lot of tippy top and bottom. It's the midrange that's the most important.

wow great reply
I will try the speaker as a mic thing I've heard and seen this done but never tried it myself also the 421 on a ride is a cool idea and the rest sounds sound.

What do you think of MS overheads or MS room with the mics I have to work with?

thanks again for taking the time

I have used some unconventional items to record things also. I have a modified 15" sub that i use quite a lot to pick up some DEEP thump from the bass drum. the cone is so thick that high frequncies will not move it. (: I like to call that mechanical gating..) I've also been experimenting with laptop piezo driven flat speakers reversed into guitar cabinet mics. Just my 2 cents.

Anything goes....

Just make sure you get the meat & potatoes together first. Then experiment.

Here's what I would do

(I haven't heard some of these mics, so don't laugh to much)

DRUMS
Kick - AKG D112 just inside the hole
Kick - SM58 on the batter side, parallel with the beater's path
Snare - SM57 on top and bottom (remember to flip phase on one of them
Toms - Sennheiser MD421s on all toms
hats - AKG C12 (i am guessing at this one)
ride - Sennheiser K6 (again, a guess)
OH's - Neumann KM 184s ( try different stereo placements)

GUITAR and BASS
I would put up one of the remaining mics on the guitar and bass amps, as well as DI the bass, and have them retrack their parts once the drums are done. This way you have a wider selection of mics available. If you are not going to do that then:
Guitar - AKG 414
Bass - AKG c12

Vocals - Neumann U89/Neumann TLM 103