Extreme percussion engineering (and mixing)

[1nation]

Hey Steve,

I have a couple of questions about the 'Easy Weather' mp3 you posted.

What mics, and pre's are you using for percs? Actually anything that you'd care to share from positioning to processing would be greatly appreciated. I've recently done my first percussion session and while my guy probably isn't as clean as the unnamed percussionist on your track, he's still very good. I just didn't pull the clear rich sounds that I wanted (and you acheived) out of him last time. But I'll get to try again soon.

P.S. We're recording everything from Batas to baskets next time, but I would really like some insights on the kunga and shaker sounds you got on Easy Weather.

Thanks, Paul.

[Extreme Mixing]

1nation,

Thanks for your interest in the Easy Weather recording. It was a pretty fun session. A big part of what makes it sound good is the great level of playing that was at the session. It was fun to be a part of.

I recorded the basic tracks (gtr, bass, drums, and keys), then set the producer up to record the ovredub perc tracks.

The congas were recorded with Audio Technica 4041s through a pair of Vintech X73i mic pre/EQs (the eq was out), to one of those new, blue DBX 160 series compressors. Additionally, we recorded room mics. These were the little Octavia M12 mics that go for about $100 at Guitar Center. I think they went through a Demeter VMP-2, no compression on these. Every thing went to it's own track in Pro Tools.

Shakers were also through the Demeter/ M12 combo.

You can get great results on percussion tracks in many different ways with lots of different mics. I felt that this was the best of what was available in this producer's room.

A major element in the sound of the perc, in this case, is that I went through and lined up the perc with the drums, to avoid the Kerplop sound that happens when the conga slap and the snare are too loose. It's a bit time consuming, but hard not to do once you've heard the difference that it makes.

How are you recording the perc? What kinds of levels are you printing? How much compression are you using? Where are you putting the mics? There are lots of variables.

Steve

[1nation]

Thanks for the reply.

The congas were recorded with a pair of m12's in xy about three feet above the heads running into an MP-2NV, and a 421 and 57 about 2 inches off the head running into the clean channels of a Sytek. I didn't use any compression while tracking but I used a couple db of the ren comp set pretty transparent.

For shakers I used the m12's into the MP2 and a little bit of ren compression.

As far as levels go, I'm not driving the MP2 very hard and I'm keeping it green in PT. I did some editing for rhythm, but not as extensive as yours. I'll give that a try too.

It's a decent sound but I like yours better. Wish I knew how to post an MP3, a soundclip would be way better than me trying to explain this.

I think I'll be happier with clearer OH mics, I just got the Stapes and I'm looking forward to trying those out on the next session. They are awesome sounding mics!

I'll try the m12's as room mics instead of main OH mics next time. Thanks for the insights.

[1nation]

If the Stapes don't cut it and I decide to try the AT's would you recommend the 4041's or the 5051's? Thanks again.

[Extreme Mixing]

1nation,

Sounds like your levels are good. Green/yellow is good in Pro Tools for this type of recording recording, since I'm sure you are at 24 bits. If I were you, I would try recording without the 57/421s as close mics. Just place the M-12s, one on the outside/front corner of each conga, about 4-6 inches from the head. If they seem too bright, you can lower the mics or point them more towards the shell than at the skin. If you feel like you need more "room" in the sound, back the mics up another inch, or so. This type of A/B micing will give you a very wide stereo spread. You can narrow this to taste when you mix.

As I said, exactly which condencer mic you use is less critical than you may think. It's more important where you put them. Also I think I probably rolled a little high end off the tracks in the mix, because congas can easily get too slappy. The wood and the body of the drum is where the cool sound is on a conga.

Good Luck.

Steve

[1nation]

Great tips, I'll give that a try next time. Any suggestion on mic placement for shakers?