Mic choice and placement for live R&R

[Jimbo]

Hi Folks,

I'm attempting two firsts next week, and I would really appreciate your input.

First 1: This is my first live (stage performance) rock recording
First 2: This is my first time recording while simultaneously playing drums

I've jumped back into the drummer's saddle recently, and will be tracking an upcoming gig taking place on a really nice sounding stage and auditorium (we've played there before.)

My focus has been on acoustic music, and I really don't know a whole lot about micing cabinets, and drums on a loud stage, so I could really use your help with this.

We are a seven piece band: drums, bass, 2x electric guitar, acoustic guitar, mando, vocs.

Question 1: The acoustic guitar will be going direct, as will the mando and bass. I have a limited number of dynamic mics for guitar cabs:
- 2x Shinybox 46 mxl (fig 8)
- Beyer m201
- Audix i5

I was thinking the Audix on lead guitar, and the Shinybox on rhythm. What would you do -- I really don't know much about micing live guitar cabs. I also have a good selection of condensers if any of you think that is the way to go. I'm sure I could scratch-up a 57/58 if needed.

Question 2: I play a three piece set (bass drum, floor tom, snare) with 2x crash, hi-hat (with tamborine-jingles) and ride. I plan to mic my drums with two overheads (Beyer MC930 in Recorderman setup) and an M88 on bass drum. I'm going to skip the wedge and mix my own in-ear monitor mix to help reduce bleed into the overheads. Any advice here? I usually mic my drums (for PA) with one overhead and a bass drum mic, so I'm comfortable moving to two overheads and skipping the close mics on toms and snare.

I'll be running into my ATI 8MX2 preamps, Hamptone HJFP2 preamps, and putting the direct lines into my Metric Halo boxes. All conversion will be via Metric Halo.

I really appreciate (in advance) your input.

Thanks,

- Jim

[Jimbo]

Anything I'm missing here?

[Jim vanBergen]

While I'm sure many of us might tweak things, choose different mics, what's wrong with your proposal is....

NOTHING. It sounds well thought out.

Question: who is going to monitor your tracking levels to disk/tape? How do you insure your kick & drum OHs and getting solid gain without going to the red?

Go for it, and let us know how it goes.

JvB

[Remoteness]

Jim,

It sounds like a plan.
You seem to be on point without any outside help.

Let us know how it went.

[Dr Gris]

Seems fine to me.
I´m just an amateur but one thing I´ve learned is to use some kind of popfilter,
even if you use dynamic with built in popscreen on vocals.
Or maybe I´m totally wrong.....
I´m off topic for sure, sorry

Good luck
/Magnus

[Jimbo]

Thanks for the votes of confidence. The recording went fine.

Jim: I kept all the signals low enough that things didn't even go into the red. Also, the ATI has built-in limiters to protect from digital overs.

Here's are my lessons learned:
1. Always use a splitter: I ran all the tracks through my gear first then patched out to the PA. What a nightmare! This ate-up a large chunk of time that I should have used for mic placement and signal checks.
2. Never use a ribbon on stage: My jaw dropped when I heard a loud BANG, and sure enough, the guitarist tripped over the mic stand slamming the ribbon mic into the stage. The ribbon didn't break, but it sure did stretch, and will need to be fixed, along with the headbasket. Fortunately, it's an inexpensive ribbon. However, I'm more upset that his guitar tracks are poor sounding.

Of course, both these lessons have been stated before by so many on this forum. Now I get it!

On a gear note, the Beyer mc930s running through the ATI preamps produced great drum tracks. The phase was a little off, but the tracks are crisp, tight and dry sounding -- perfect for live. Also, those MC930 mics have a very tight pattern, and excellent off-axis response: little (but good sounding) bleed.

Thanks again!