Pros and cons of recording like this - Page 2

SiliconAudioLab · 28th December 2005

If there's enough of the 103's use in the hall AND on the guitar cabs then place them there along side the 57's. Don't mix them there though - keep the two guitar mic tracks independent from each other until mixdown.

7rojo7 · 28th December 2005

Is the engineer familiar with your material? Has he recorded this type of thing before? How many tracks will you have? How much time will you have?
Rug under and absorptive gobos behind and on the flanks of the drums. instruments fairly close together, I would take the bass direct and not monitor too loud in the studio and if you do monitor it loudly, get it in the center of the room possibly behind the drummer. Angle the gtrs away from each other. Otherwise get a good natural mix, directly with the volumes of the instruments, possibly sacrificing any individuals monitoring needs or your room mics will be worthless. I would put an OCT about 3m over and 3m in front of the group (use these to control the sound on stage), AB omnis a little (up high and 9m from the kick) farther away and an omni 1cm from the backwall behind the drums and up as high as you can (boundary mic=bigbass), you can always slip these into the first pair. I wouldn't use m-s for music.
this is OCT <^> all being half omnis.
Trust your engineer, he knows his room and his gear and probably has good experience, pray that this is the case.
you should go for whole band pickups as a recording strategy and have someone with a tappable hand held metronome around to give tempo cues, if you mess up a part of the song you just record it after the end of recording from 4 bars before the mistake untill you need to stop or the end. edit a take together with everyone listening, let it sink in and the go for a new whole one, this keeps the morale up.
ghosts in the room mics makes it impractical for ODing, maybe some short fix punches.
Will you have a PA for monitoring, in ears or will you be using headphones or both. this will effect the sound, you need good monitoring if you'll be singing and don't expect much of a room sound on vocals if you don't have a PA.
Sounds like fun, if you don't have an engineer, I'm a train ride away.

Gio · 28th December 2005

Ok..thanks silicon..

SiliconAudioLab · 28th December 2005

7rojo7

With OCT <^> you mean just 2 mics;

The side one < > being a figure 8 (pointed sideways of course) and the foward facing one ^ a cardioid right ?

**Remoteness** · 28th December 2005

Quote:

Originally Posted by Gio

I've asked you about the 103's 'cause I've seen them on Jack White's (white stripes)live guitar set up.
3 amps and 3 103's.

...still looking for a good pic!!!?!???!

Cool, so he's using three TLM103s nowadays...

We worked with him on 4/20/03 in Boston during a White Stripes Concert at the Orpheum. He was using two cabinets at that time -- One cab had a TLM103 and the other had an E609.

I like those TLM103s. I use them on snare, toms, et cetera, etc. -- They're a great utility mic.

Gio · 28th December 2005

Yes...
I've seen a picture of his set up...

follow this link:

http://mixonline.com/mag/audio_white_stripes_2/

7rojo7 · 29th December 2005

3 mics, all half omnis, neumann U89 or a schoeps 21 capsule or any classic tube mic with a variable pattern selector, I happen to prefer an x-y over an omni for the center, but i don't have a name for it, I noticed the josephson stereo mic has this arrangement. OCT has also been studied with cardiods but the angles change, these techniques contain all of the stereo information when summed to mono, m-s does not.
record everything.
I would try to sing and send a feed to the cans only, set yourself up a booth in the corner, band hears you, very little bleed, a little bleedin can bring a lot of magic. if it doesn't work out you can always stop and OD later.

28th December 2005	#31
SiliconAudioLab Lives for gear Joined: Nov 2004 Posts: 972	If there's enough of the 103's use in the hall AND on the guitar cabs then place them there along side the 57's. Don't mix them there though - keep the two guitar mic tracks independent from each other until mixdown. __________________ C'mon! "Soon, no one will have to DO anything."

28th December 2005	#32
7rojo7 urumita Joined: Nov 2002 Location: Spoleto, Italy Posts: 2,381	Is the engineer familiar with your material? Has he recorded this type of thing before? How many tracks will you have? How much time will you have? Rug under and absorptive gobos behind and on the flanks of the drums. instruments fairly close together, I would take the bass direct and not monitor too loud in the studio and if you do monitor it loudly, get it in the center of the room possibly behind the drummer. Angle the gtrs away from each other. Otherwise get a good natural mix, directly with the volumes of the instruments, possibly sacrificing any individuals monitoring needs or your room mics will be worthless. I would put an OCT about 3m over and 3m in front of the group (use these to control the sound on stage), AB omnis a little (up high and 9m from the kick) farther away and an omni 1cm from the backwall behind the drums and up as high as you can (boundary mic=bigbass), you can always slip these into the first pair. I wouldn't use m-s for music. this is OCT <^> all being half omnis. Trust your engineer, he knows his room and his gear and probably has good experience, pray that this is the case. you should go for whole band pickups as a recording strategy and have someone with a tappable hand held metronome around to give tempo cues, if you mess up a part of the song you just record it after the end of recording from 4 bars before the mistake untill you need to stop or the end. edit a take together with everyone listening, let it sink in and the go for a new whole one, this keeps the morale up. ghosts in the room mics makes it impractical for ODing, maybe some short fix punches. Will you have a PA for monitoring, in ears or will you be using headphones or both. this will effect the sound, you need good monitoring if you'll be singing and don't expect much of a room sound on vocals if you don't have a PA. Sounds like fun, if you don't have an engineer, I'm a train ride away. __________________ love and light

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28th December 2005	#33
Gio Gear interested Joined: Apr 2004 Location: Switzerland Posts: 25 Thread Starter	Ok..thanks silicon..

29th December 2005	#37
7rojo7 urumita Joined: Nov 2002 Location: Spoleto, Italy Posts: 2,381	3 mics, all half omnis, neumann U89 or a schoeps 21 capsule or any classic tube mic with a variable pattern selector, I happen to prefer an x-y over an omni for the center, but i don't have a name for it, I noticed the josephson stereo mic has this arrangement. OCT has also been studied with cardiods but the angles change, these techniques contain all of the stereo information when summed to mono, m-s does not. record everything. I would try to sing and send a feed to the cans only, set yourself up a booth in the corner, band hears you, very little bleed, a little bleedin can bring a lot of magic. if it doesn't work out you can always stop and OD later.