I just closed a Jazz recording session...

Justice · 20th July 2008, 07:43 PM

It's awesome!

A 4 piece Jazz band!

There good too.

I get to be the Head engineer!

They are on Warner Brothers....

and I got paid in advance!

Man!

It's better than being a producer let me tell you!

I look forward to asking many questions!

phillysoulman · 20th July 2008, 07:59 PM

Quote:

Originally Posted by Justice

It's awesome!

A 4 piece Jazz band!

There good too.

I get to be the Head engineer!

They are on Warner Brothers....

and I got paid in advance!

Man!

It's better than being a producer let me tell you!

I look forward to asking many questions!

Congrats

s.d.finley · 20th July 2008, 08:04 PM

Congrats Justice!

I love working with great jazz bands. Recording them is so easy. They all know how to control their dynamics, when to step up or back off the mic. Never any overdubs, and usaully done in one take!

beat you down · 20th July 2008, 09:32 PM

wow, imagine how many HOT beats you can make using those tracks.

loops for ages dude.

Justice · 21st July 2008, 01:53 AM

Quote:

Originally Posted by s.d.finley

Congrats Justice!

I love working with great jazz bands. Recording them is so easy. They all know how to control their dynamics, when to step up or back off the mic. Never any overdubs, and usaully done in one take!

I got u...

Imma just mic everything up, run through as many pres as possible, and drop right to tools.

I'm sure I can do a search for good mic's but I want to hear what mic's a hip hop engineer would use for drums.

Roots kinda sound.

I get to record in D.C. my home town, I'm hoping CUE Cue Recording Studios, mixing, audio recording, cd mastering, school or Omega Omega Recording Studios, Washington, DC!!!

Stitch333 · 21st July 2008, 02:08 AM

thats coool...
a paid change of pace is always good.

FWIW: lots of ribbon mics give a nice complimentary vibe for jazz records.

congrats!

bgrotto · 21st July 2008, 04:27 AM

Very cool! Nice get!

As far as micing up a jazz group: less is more. If you don't nail the drum sound with three or four mics, or come damn close to nailing it, you've screwed up. Take your time; even if you feel the need to rush to get started, just don't. Take the extra time to get the sounds right, make DAMN sure the musicians' headphone mixes are pristine (getting awesome sounds will help here), and the record (and musicians) will mix itself.

Good luck, and congrats!

ryst · 21st July 2008, 04:59 AM

I agree with bgrotto

For drums I would start with the Glyn Johns or Recorderman technique. They are similar and both sound great with just 4 mics.

bgrotto · 21st July 2008, 05:22 AM

Also: if there's a piano involved, and you don't have a separate room for it, don't go crazy putting it as far away as possible from the drums to kill the bleed. Instead, put it right next to the kit. It's counterintuitive, I know, but the bleed will be WAY more natural sounding, and if you're careful about phase and microphone directionality, the bleed will actually work in your favor.

As for OHs, I really like a nice pair of omnis near the drummer's ears, or just above them. Earthworks are nice for this, particularly the TC30s. That'll give you a fair amount of room sound, really nice and natural stereo imaging, and the drummer's perspective of his own dynamics. If he's any good, you can't go wrong.

If the SDC vibe doesn't work for you, a spaced pair of tube mics is tough to beat. Measure so that they're equidistant from the snare and kick, and make sure the ride and hats sound GREAT. Remember, jazz drums are all about the ride and hats, NOT kick and snare.

...wait...did you even ask for any advice? Shit. I hope so, otherwise I'm just being an ass.

Whatever. Good luck, have fun, and post some rough mixes when you're done!

riteup3 · 21st July 2008, 08:06 AM

I think the OP said it was a Roots type project. In this case it's a lot about kick and snare. Check out the August issue of EQ mag,there's an extensive interview with ?uestlove and his engineers about working on the new Al Green CD. Lots of useful tips and tricks on how to achieve the Roots drums sound.
Good luck with the session.

ron

btw, if there wont be any overdubs, or no click track involved, don't bother with headphones. Just put your mics at the right spots and stay out of the way.

bgrotto · 21st July 2008, 02:53 PM

Quote:

Originally Posted by riteup3

I think the OP said it was a Roots type project. In this case it's a lot about kick and snare.

Oops, you're right. Good call; I totally missed that. I guess I don't really think "Roots" when I think "jazz"!!

Quote:

Originally Posted by riteup3

btw, if there wont be any overdubs, or no click track involved, don't bother with headphones. Just put your mics at the right spots and stay out of the way.

+1

Get those ****ers in the same room!! Bleed is your friend.

Justice · 21st July 2008, 03:05 PM

Thanks for all the info so far. I will put it to use!

Switchcraft · 21st July 2008, 03:06 PM

Quest uses royer ribbons on everything now. I think he only uses 4 for his drum recordings and does some close micing on toms as well.
I would do a mono over head, then one royer in front of the kik about 6 feet away (the lower the more bass, the higher the more cymbals). then some royers on the toms, it will most likely only have one or two toms. Make sure you get a good balance of snare, cymbals and hat in the mono over head.
minimalism is very important in jazz. The more ribbons the better, especially on horns.

phillysoulman · 21st July 2008, 03:18 PM

Quote:

Originally Posted by Switchcraft

Quest uses royer ribbons on everything now. I think he only uses 4 for his drum recordings and does some close micing on toms as well.
I would do a mono over head, then one royer in front of the kik about 6 feet away (the lower the more bass, the higher the more cymbals). then some royers ont eh kit, it will most likely only have one or two toms. Make sure you get a good balance of snare, cymbals and hat in the mono over head.
minimalism is very important in jazz. The more ribbons the better, especially on horns.

Do you work at Larry Gold's??

Similar Threads
Thread	Thread Starter	Forum	Replies	Last Post
My first jazz session	Young Al Capone	Work in progress / advice requested / Show & Tell / Artist showcase	1	6th June 2008 02:11 AM
Blue Woodpecker (Ribbon) for Jazz Bone Session?	Buzz Smith	Remote Possibilities in Acoustic Music & Location Recording	4	2nd October 2007 05:57 PM
Jazz & Jazz/Fusion Mixing or Recording Tips	jje	Remote Possibilities in Acoustic Music & Location Recording	18	17th July 2007 08:58 PM
New Mix of an older session (jazz/pop fusion)	the1Hub	Work in progress / advice requested / Show & Tell / Artist showcase	2	26th September 2005 04:23 AM
a jazz session	lowswing	Remote Possibilities in Acoustic Music & Location Recording	4	15th July 2003 04:57 AM

20th July 2008, 07:43 PM	#1
Justice Lives for gear Join Date: Nov 2005 Posts: 530	I just closed a Jazz recording session... It's awesome! A 4 piece Jazz band! There good too. I get to be the Head engineer! They are on Warner Brothers.... and I got paid in advance! Man! It's better than being a producer let me tell you! I look forward to asking many questions! __________________ Justice "Big Jus" www.myspace.com/saej http://www.myspace.com/suburbanentertainmentllc

20th July 2008, 08:04 PM	#3
s.d.finley Lives for gear Join Date: Aug 2004 Location: Houston, TX Posts: 2,039	Congrats Justice! I love working with great jazz bands. Recording them is so easy. They all know how to control their dynamics, when to step up or back off the mic. Never any overdubs, and usaully done in one take! __________________ sdf www.digitalwarehausproductions.com

21st July 2008, 02:08 AM	#6
Stitch333 Lives for gear Join Date: Aug 2006 Location: Phila, PA/Upstate MA Posts: 2,353	thats coool... a paid change of pace is always good. FWIW: lots of ribbon mics give a nice complimentary vibe for jazz records. congrats! __________________ www.myspace.com/stitchproductions "Half shark, half man, skin like alligator...carrying a dead walrus..." "I think this sheet metal that says NEVE on it can be made into a mic pre. It already sounds better than anything else I own." -D.W.

21st July 2008, 04:59 AM	#8
ryst Lives for gear Join Date: Dec 2004 Location: Atlanta Posts: 954	I agree with bgrotto For drums I would start with the Glyn Johns or Recorderman technique. They are similar and both sound great with just 4 mics. __________________ "you know, while you're at it...what i miss more than anything else? i miss just working on music, for godsake. just hanging with musicians and figuring out what the hell to do. what the F**K is it when all we talk about is gear...gear...and more gear???" - GM

20th July 2008, 09:32 PM	#4
beat you down Lives for gear Join Date: Aug 2006 Posts: 1,521	wow, imagine how many HOT beats you can make using those tracks. loops for ages dude.

21st July 2008, 08:06 AM	#10
riteup3 Gear nut Join Date: Apr 2006 Posts: 130	I think the OP said it was a Roots type project. In this case it's a lot about kick and snare. Check out the August issue of EQ mag,there's an extensive interview with ?uestlove and his engineers about working on the new Al Green CD. Lots of useful tips and tricks on how to achieve the Roots drums sound. Good luck with the session. ron btw, if there wont be any overdubs, or no click track involved, don't bother with headphones. Just put your mics at the right spots and stay out of the way.

21st July 2008, 03:05 PM	#12
Justice Lives for gear Join Date: Nov 2005 Posts: 530	Thanks for all the info so far. I will put it to use! __________________ Justice "Big Jus" www.myspace.com/saej http://www.myspace.com/suburbanentertainmentllc

21st July 2008, 03:06 PM	#13
Switchcraft Lives for gear Join Date: Jul 2004 Location: Philly Posts: 970	Quest uses royer ribbons on everything now. I think he only uses 4 for his drum recordings and does some close micing on toms as well. I would do a mono over head, then one royer in front of the kik about 6 feet away (the lower the more bass, the higher the more cymbals). then some royers on the toms, it will most likely only have one or two toms. Make sure you get a good balance of snare, cymbals and hat in the mono over head. minimalism is very important in jazz. The more ribbons the better, especially on horns. __________________ my hands work mad good http:/www.RadioRecession.com www.RadioRecession.blogspot.com

Thread Tools	Search this Thread
Show Printable Version Email this Page	Search this Thread: Advanced Search
Display Modes	Rate This Thread
Linear Mode Switch to Hybrid Mode Switch to Threaded Mode	Rate This Thread: