Quote:
|
Originally Posted by pkautzsch I'd go for:
- Drums mono OH, SN, BD
- Guit amp
- Bass f-hole (+ amp if available for that small amount of speaker dirtiness)
- Main pair omni without baffle but at least 2 ft spacing to get a nice room sound
As I don't know most of the mics you have, I can't recommend which mic for which instrument, but the 414s should be fine for the f-hole and the snare. A ribbon might be nice as OH mic.
The main pair will pick up some audience, but this is fine as long as the CD booklet says "live at ...". |
Do not mic the bass amp unless the bassist: A) Has no sound at all or: B) wants the recording to sound like 1974.
Avoid LDC on bass in a live situation w/o baffles. Too much bleed from drums. A ribbon mic on bass will give good off-axis rejection, so you can set the bass up next to the drums w/o too much bleed.
Avoid room mics unless you know the room well and it is big enough. Too many standing waves floating into room mics may make the recording sound like a glorified "Walkman" recording. Room mics can also contribute to phase issues and box you into some panning disisions. Room mics are better for classical and large ensembles. If there is to be a large crowd at the gig and you want to capture clapping and cheering (assuming the band plays well) an omni mic in the house might be a good idea.