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Old 21st May 2019
  #36
Lives for gear
 
Brian M. Boykin's Avatar
 

Do you have room treatments up? And when I say room treatments I mean ridged fiberglass of the Corning 703 type in the corners, in a cloud, and on the walls? 4” and a minimum and 6” ideally. That made me able to get a nice drum recording with my Soundcraft 400b and cheap Chinese mics. Moving to transparent pre’s made for less EQ and now I’m using my own custom built mic’s and again I’m not having to use much EQ to get it right in the mix. My chain is Mic, to pre, to converters. I skip the console in the recording process. No sense running your audio through more electronics unless it adds some color you like. I don’t compress either. Just raw recordings. If your happy with your console as your pre’s I’d get mics. Your gonna have to experiment. It’s room dependent. If your OH’s are cymbal heavy then ribbons may help. If their dark then a K67 or C12 style capsule may help brighten them up. A k47 will be more flat. The mic circuit has a lot to do with the mic response also so do your homework. I use my mic’s to achieve the EQ I need at the source. You can fix it in the mix to some degree but it’s not ideal. If your not doing small tweaking with minor cuts or boosts (+- 3db) is my personal rule of thumb, then fix the room, retune the set, or choose a different mic. Gear will not fix dynamics. I learned “recording dynamics” by watching peak meters and VU meters while I played and learned to make them peak at the same level each hit.

In the thread I posted above Steve uses a similar set up to what I think makes for a very balanced recording. That mic over the shoulder is awesome. That’s why I use recorderman. I’m pretty excited to try his technique. I hadn’t seen it until a couple days ago but it makes perfect sense in my experience.

I’m trying to answer your original question with my own experience. Idk your level of experience so I’m just throwing it all out there like you just started recording.

Brian