I like the arrangement, very nice ambiance..
The only bothering me is the agressive frequencies in the cymbals.. The could be level down but even then, the frequencies are harsh.
I'm wandering if you hear them on your side. Did you use a lot of foam in your room, most foam will absorbe frequencies above 1k and will throw of the frequency balance of your room..

Anyway, as a demo to show your work, it's fantastic..
Good job !!

Use foam or no use foam? I have deadened the room quite a bit with 14 2’x4’ acoustic panels on ceilings, corners and walls. Maybe pencil condensers need repositioned

Are you miking the high hat? is so what mic?

No close hi hat mic.....oh l and oh r are small pencil condensers both 42” from center of snare

If want to mellow it try a dynamic closer to the snare. I never have much luck with condensers above the snare. THe Sm57 or the 421 seems to be where my ear leads me.

Eliminate oh l condenser or In addition to?

Oh l is also there to pick up crash

I would add a closer dynamic to start. Then decide later if you want to cut the condensers entirely or blend them in at a lower level.

will try tonight with 57

How high is the ceiling?

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Low ceilings are tough for drums... did you say you had rigid fiberglass panels directly above the kit? That will help in this case.

Not rigid fiberglass but 2” thick mineral wool wrapped in fabric inside frames. Room was pretty much an echo chamber before...now it’s quite dead

I will post actual pictures this afternoon maybe small video tour of room

2" might be too thin... 

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Bonecrusher1, post: 466888, member: 52275 wrote:
Not rigid fiberglass but 2” thick mineral wool wrapped in fabric inside frames. Room was pretty much an echo chamber before...now it’s quite dead

This is a lot better than having walls full of thin foam.. but the more I listen to it, the more I thinks it's the mic/instrument combinaison that makes the HF harsh.. Testing with a sm57 mais resolve the issue.. or if you have no other choice, you could use a deesser one the OV tracks to controle the frequencies between 3k and 12k.
Another thing, you could turned the OV mics so they don't point directly at the cymbals.. Usually sound coming at an angle will have a bit less HF..

I find that with a room thats a box that an X/Y on the overheads is a better setup rather than coincidental.

And for what it's worth....I never use overheads to "pickup" individual cymbals but rather as a way of creating a feeling of space around the kit. If you want to "pickup" a specific cymbal mic it from underneath and angle it for tone.

I’ll try that too...... thanks

  Guitar amp iso room and recording room. I know amp room probably needs some deadening

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If you want to play with your panels I would move your panels to have 4” by 4’ by 4’ sound cloud above the kit

Link555, post: 466913, member: 31690 wrote:
If you want to play with your panels I would move your panels to have 4” by 4’ by 4’ sound cloud above the kit

I concur. Leave a decent gap between the two stacks and a space above.

8’ ceiling...4” gap....4” cloud.....4” gap....4” cloud. That’s almost touching the top overheads but okay

Somehow I thought your panels were 2" thick. A single layer with a gap above will work as well. So only two panels needed. To make the 4' X 4' as Link 555 has suggested. I was thinking you could stack them to make the 4" of cloud material. A 2" gap above that would be adequate. You are trying to diffuse rather than deaden.

 I got it... essentially cloud the entire kit with a thicker cloud....I also have these 18” x 3’ was going to use these in the amp room... would they serve better above drums?

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Do those panels have rockwool too? In my experience Foam alone will not act as ceiling "eraser", you need wide band absorption.

I like the pallet thing. But the rockwool over the top is the way to go. Whatever you do, look at your room as a series of sections. If this is to be your drum position it your room then treat it as such. If it's non-static and can move around according to needs, then a ceiling hook system when you can apply cloud wherever needed might be a thought. You don't have enough structure to really think about absorption but you can difuse with some absorption and this will keep first order reflections and most flutter out of your overheads.

pcrecord, post: 466891, member: 46460 wrote:
This is a lot better than having walls full of thin foam.. but the more I listen to it, the more I thinks it's the mic/instrument combinaison that makes the HF harsh.. Testing with a sm57 mais resolve the issue.. or if you have no other choice, you could use a deesser one the OV tracks to controle the frequencies between 3k and 12k.
Another thing, you could turned the OV mics so they don't point directly at the cymbals.. Usually sound coming at an angle will have a bit less HF..

I hear excessive sub peaks which is related to standing waves. This would be why you were wondering why CD's sound good on small speakers but not with your mixes. A common problem with small rooms and low ceilings.

I’ve got some mic positioning and panel arrangement to experiment with.... not as fun as tracking but sounds like it’s crucial for a great mix.... should I work these things out until I get a great mix dry going in without any eq or comp or will even the best treated rooms and mic placements always require a bit of sweetening going in?

I’ve often wondered if a project could possibly be tracked so well no mixing or mastering would be necessary

(y)There is nothing more important than a good room for recording, mixing or mastering

Bonecrusher1, post: 466965, member: 52275 wrote:
I’ve often wondered if a project could possibly be tracked so well no mixing or mastering would be necessary

I've worked in a couple of rooms where you'd think this was possible.

Bonecrusher1, post: 466965, member: 52275 wrote:
I’ve often wondered if a project could possibly be tracked so well no mixing or mastering would be necessary

Well recorded songs are a dream to mix as they pretty much “mix themselves” because they sound great to start with.

Mixing engineers are also a second set of ears.

I think you always need to get mastering done because they too are at the very least, a second set of ears that also put the polish on in just the right spots!

being said,
I mix and master my stuff because I love doing it all. If I was hired to produce something i wanted done the best way possible, I would recommend hiring independent recording, mixing and mastering engineers.

If you had to pick one would it be the perfect room or vintage telefunkens and neves?

Well, look at my profile and you'll see what I've been blessed with. After all I've owned there is no doubt in my mind great gear is very important but the room is without question the most essential part to it all.

All the best gear in the world won't help you mix in a shit room. If your room acoustics are lying to you, you are working blind.
Get your room right and you will be able to mix music that sounds great in everyone system.

Being said... I have been lusting over owning a 251 Telefunken for years.

...... that’s some amazing gear...... I’ve only ever read about most of that stuff...I doubt my house is as valuable as what’s in. all those racks.... I’d be all thumbs

Imagination, space, gear in that order makes for great recording.... simple is always better. If the room is good the mic is easier to place. If the mic positioned well, less eq is needed.

Bonecrusher1, post: 466971, member: 52275 wrote:
If you had to pick one would it be the perfect room or vintage telefunkens and neves?

It would make no sense to spend 20K on mics and preamps but not put 500$ for room acoustics (DIY)..

Audio recording is like a cake, if you don't have all the ingredients right, it won't work ! ;)

Bonecrusher1, post: 466971, member: 52275 wrote:
If you had to pick one would it be the perfect room or vintage telefunkens and neves?

room. a perfect room will need minimal treatments and will record well with less processing. next important is mics and speakers (transducers). the next thing is a good monitoring environment. if you have those 3 things, you won't need a ton of gear. a few good mics and pres, a couple of good compressors and a decent reverb and you're ready to make records.

That song is Kick butt! (y)

You'd think I could keep the hovel clean.....

The mastering Engineer I use has the SPL as well as the Prism Maselec EQ's.... Still hardware.

Me....I still just plug stuff in and move it around until it sounds great. 

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