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Rec scream/hardcore band, what to look out for/tips? Dynamic Microphones
Old 7th September 2011
  #1
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mikeyrad's Avatar
 

Rec scream/hardcore band, what to look out for/tips?

Hey slutz I'm rec a scream/hardcore band for the first time this weekend and Ive never done this style yet so I'm looking for some pointers in what to listen and look out for.

We are doin a 3 song demo and tracking drums and bass fri night and guitars and vocals another night. It's a 3 piece band as well.

Drummer has a 4 piece kit with kick snare tom and floor tom. Don't k ownhow many cybals yet though.

My plans for the drum kit are as follows...
Kick d112 SCA a12
Snare top e609 SCA a12
Snare bottom 57 ghost or focusrite ls56 pre not sure yet
Tom 57 or e604 ghost or ls56 pre
Floor Tom 57 or e604 ghost or ls56 pre
OH 012 SCA n72 spaced pair
(also have a Pacifica at my disposal that I'll probably use for the two toms?)
My room is small but treated.

Oh crap lunch break is over, any input would be great thanks!

Last edited by mikeyrad; 7th September 2011 at 07:12 PM.. Reason: Add preamp
Old 8th September 2011
  #2
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anybody???
Old 8th September 2011
  #3
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For Scream-o vocals - hand held 57 into a gritty pre into a brick wall limiter. Sounds great and will cut through a wall of guitars.
For me this means an Altec 1612 pre/limiter but I've used other combinations with good results (the ADL tube limiter is pretty great in this setting).
Old 8th September 2011
  #4
Be ready to edit.

Cut and punch are usually what you're going for. Drum setup sounds fine. Room mic is desirable, though.

SM7 on vox for doing roughs, then also add an MA200 or similar a few inches away for when you're tracking the vox for real. That way you'll have a mic to cover singing and the other for "screaming" during the same take. Have a Distressor?

DI and D112 on bass. Have a good comp at the ready.

Two 57's on guitar cab.
Old 8th September 2011
  #5
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wear ear protection
at least 33dB earplugs
maybe add earmuffs too
Old 8th September 2011
  #6
Gear Nut
 

Something to watch with "these bands" is drummers hitting way harder in the slower bits, particularly the snare.
Old 8th September 2011
  #7
Quote:
Originally Posted by oldeanalogueguy View Post
wear ear protection
at least 33dB earplugs
maybe add earmuffs too
Or turn down the control room volume...



Anyway, more important than mic choice is gonna be you keeping on the band to perform as tightly as possible. This means extremely consistent drumming, both in terms of dynamics and tempo (hence the common proclivity for sample replacement and Beat Detective), ditto for the bass, and tight timing and intonation from the guitars. If the guys play their asses off, you can use pretty much any mic to get something together. But all the high end gear in the world won't solve performance issues.

Use common-sense micing techniques, and focus your energies on producing (and/or, if need be, editing together) great takes.
Old 8th September 2011
  #8
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Screws's Avatar
 

I had a major education recording one of these bands.

Snare top 57 to SCA N72 to Fatso
Kick ATM25 to SCA N72 to Fatso
Toms Senn 421s to SCA J99s
OHs Oktava 012s to Peavey VMP tube preamp

I didn't do any drum replacement, so to get a good kick sound I duplicated the track, rolling all lows off one and all highs off the other. I compressed and eq'd each separately and mixed back together. Bass was direct, vocals were a Rode NTK.

The guitars were the biggest challenge. They were in love with Every Time I Die's "Hot Damn" CD, and I saw Eric Rachel's name on the back and looked him up and spoke to him. He was really awesome to talk to. He told me exactly how he recorded the guitars, so I did it similarly and got a great sound.

Each guitarist recorded separately, one at a time. Split signal to 2 amps, a Boogie Rectifier for full distortion and a Marshall for slight crunch. Each amp to separate 4x12's back to back. Each cab has two mics, a 57 close on axis and a C414 (or other LDC) in omni about a foot back. The crunch sound has more note clarity and the distortion has the guts. Blend mics and pan to taste.

Hope some of this helps.

Last edited by Screws; 8th September 2011 at 05:37 AM.. Reason: Added drum mics and preamps
Old 8th September 2011
  #9
Quote:
Originally Posted by Screws View Post
I had a major education recording one of these bands. I didn't do any drum replacement, so to get a good kick sound I duplicated the track, rolling all lows off one and all highs off the other. I compressed and eq'd each separately and mixed back together. Bass was direct, vocals were a Rode NTK.

The guitars were the biggest challenge. They were in love with Every Time I Die's "Hot Damn" CD, and I saw Eric Rachel's name on the back and looked him up and spoke to him. He was really awesome to talk to. He told me exactly how he recorded the guitars, so I did it similarly and got a great sound.

Each guitarist recorded separately, one at a time. Split signal to 2 amps, a Boogie Rectifier for full distortion and a Marshall for slight crunch. Each amp to separate 4x12's back to back. Each cab has two mics, a 57 close on axis and a C414 (or other LDC) in omni about a foot back. The crunch sound has more note clarity and the distortion has the guts. Blend mics and pan to taste.

Hope some of this helps.
Cool info!

What'd you do to make sure the two amp/cab combinations were in phase? I typically avoid running a single performance through multiple amps (or cabs) because I can never seem to get the phase locked in tight enough. Got any tips?
Old 8th September 2011
  #10
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Thanks guys for the input!

I think I'm gonna use the Pacifica for OH duties and use the n72 on bottom snare. And the 2 liquid pres for toms.

Bass will be di through tech 21.

For guitar amp I was gonna do a 57 and rsm5 ribbon to help beef it up some more. Will use either n72 or a12 for guitar.

Vox will b sm7b and not sure which pre yet, also gotta hear how much singing he does so I can determine if I need to use a ldc at the same time(thanks matt for the tip!)

Since I'm goin for direct sounds how important would a room mic be? I think the OH would suffice for this genre, and ideas?
Old 8th September 2011
  #11
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Quote:
Originally Posted by bgrotto View Post
Cool info!

What'd you do to make sure the two amp/cab combinations were in phase? I typically avoid running a single performance through multiple amps (or cabs) because I can never seem to get the phase locked in tight enough. Got any tips?
I have a mixer (Yamaha 02R V2) so I do it before I hit the record button. But it's actually easier to do in my DAW after the fact. I'm just too old school to let it record out of phase and then "fix it in the mix".

My way is to listen to both mics in mono in my Remote Isolation cans while the guitarist plays so I can place the mics. The far mic is usually the one that requires more attention. When I have what seems to be a nice blend in the cans, I go into the control room while a friend/assistant moves the mic a half inch at a time back and forth while I do the following:

Sum both mics to mono in the mixer.
Reverse the polarity of one of the mic channels.
As my friend moves the mic I observe where the output meter for the summed pair is at its LOWEST place, meaning where there is the MOST cancellation between the two mics.

That's where I tell the guy to lock down the far mic. I return the two mic channels to the same, positive polarity and now their summed output is very high, meaning little or no phase cancellations.

If I do it after the fact I just zoom in on the waveform and line them up to start at the exact same time. A lot easier than all my old school stuff.
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