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Originally Posted by bobby yarrow So, Jon, you're liking baffles and some attempt at separation then? My omni-in-the-middle idea doesn't appeal to you? |
if you've got the extra mic & i/o, then, sure... go for it. it may work very well come mix time. i'd first try mixing with it (basing the balances around what is & isn't in the omni) and see how it works. if it's not happening, try time-aligning it (assuming it's relatively equidistant from the other sources). then try a mix without it. see which one gives you what you're looking for.
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Originally Posted by bobby yarrow I'm also curious about you'd mic the drumkit on those bluegrass sessions. |
i'd probably go with a nice pair of small diaphragm guys, either spaced or NOS over the kit. regular ol' 57 on snare, or whatever you prefer, and maybe a kick in & kick out. a d12 or re-20 would be good starting points. with this type of genre, you typically don't want a rock-sounding kick, more of a "woof"--not too much damping of the heads. if you're a "mic the hats" kind of guy, then do what you normally do there. i usually only mic the hats if i don't hear enough of 'em in the OH's.
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Originally Posted by bobby yarrow (I'm actually a very bad choice for this act -- no experience, don't even listen to this kind of music -- but they like me and I'm cheap.) |
hey, man... don't sweat it. i've done lots of gigs where i was *far* from the ideal person for the deal. just be confident, yet still open to suggestion. chops are chops, no matter what the genre. and a *whole* lot of what i learned from the previously mentioned bluegrass engineer i've been able to apply to rock records.
don't be afraid to say, "you know guys... that doesn't sound quite right. give me 2 minutes to move those overheads around," or whatever. be sure to let us know how it turns out!
--jon