***The Official Home Recording Studio Thread***

The thing is you can have the best mic's in the world but you need to start from the basics which is getting somebody in who knows how to tune a kit.
You need that kit sounding awesome before you put mic's on it.
 
SexyGreyFox said:
The thing is you can have the best mic's in the world but you need to start from the basics which is getting somebody in who knows how to tune a kit.
You need that kit sounding awesome before you put mic's on it.
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Iv'e contacted a music store that do home visits...Hopefully they will be able to tune my kit.

I'll update once I hear anything.:)
 
easyrider said:
Iv'e contacted a music store that do home visits...Hopefully they will be able to tune my kit.

I'll update once I hear anything.:)
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Like

Your drum mic's are more than capable but I don't know much about overheads.
Last year no1 drummer was talked into experimenting with one overhead condensor mic on stage (just one, no others) and it did pick all his kit up but I felt I had no control.
After the gig the bloke announced it was a success and the mic only costs £1,000 if we want one :D
 
I bought a pair of Line Audio CM3 mics as a pair of all rounder mics (they're pretty flat in response) Used them as overheads for a session and got great results. They're very well respected in the orchestral recording community.

I preferred your first drum example. Gate the kick maybe, not too aggressive, just to tighten it up. Cut some low mids, about 300hz, then add some 3-5k to taste to give a bit of definition. Also, don't cut all the top end out of the kick drum - some people think because it's a low end instrument they should cut all that nice airy space out.
 
banja said:
I bought a pair of Line Audio CM3 mics as a pair of all rounder mics (they're pretty flat in response) Used them as overheads for a session and got great results. They're very well respected in the orchestral recording community.

I preferred your first drum example. Gate the kick maybe, not too aggressive, just to tighten it up. Cut some low mids, about 300hz, then add some 3-5k to taste to give a bit of definition. Also, don't cut all the top end out of the kick drum - some people think because it's a low end instrument they should cut all that nice airy space out.
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I have been looking at the Oktava MK-012-01 Seem to get really great reviews and offer a lot of mic and options for the money...

http://www.soundonsound.com/sos/1994_articles/jul94/oktavamk012.html

http://www.thomann.de/gb/oktava_mk_01201_mkiimatched_pair.htm

They sound great in this video

 
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I posted this on GS but I thought I'd get your guys take on this as well:

Anyway, I've posted this song previously but I decided that I could improve on it so have tweaked around a little and the below is what I have so far. They have shot a video for this track so I want it to sound the best I can possibly make it sound.

https://soundcloud.com/projectmay/extra-mix/s-L8w1Z

They do not have the money to send it to a professional mix or mastering engineer so they are stuck with me.

Anyway, I have a few hours at the weekend to tweak this further and I'm looking on advice on how best to proceed.

My thoughts:

Arrangement - This is kind of out of my hands but the first verse is very weak (IMO). I have spoken to the band about this and we are going to try adding "something" to it to bring it out a bit. This is undecided at the moment.
If they can't think of something I could add in the double tracked rhythm guitar and pan it to the right but I think this may take away from the chorus slightly.

Snare reverb - The snare was very week before, this was just a very quick job, I know I have to tame the reverb in the quiet bits.

Low-mid muddiness (perhaps?) - I'm thinking if cutting a some low-mids in possibly the bass and guitars because it's a little muddy there at the moment, I think this may bring out the kick a little as well which is getting lost.

Vocals - They're not quite as powerful as I would like. I have some (fake) doubles in there and some parallel distortion. I may heavily compress the parallel and change the distortion.

Is there anything else you would add?

Here is a reference track I am using that I like the sound of:

https://www.youtube.com/watch?v=FcTvDaJ_fdg

Sorry for the super long post, if you got this far and have anything to add it would be greatly appreciated.
 
Off out with my new band in a minute so a quick reply from the first minute.

Right at the start you hear a bass drum that sounds good but is then missing from the mix.
The snare sounds weak, mess with the tone and different reverbs.
Actually after a third listen it doesn't sound too bad but still do the above, it can be better.
The vocal needs rounding with a bit of reverb/delay.

Just listened through my DAC and Fidue A83 earphones and it does sound very good but the above still need addressing especially the bass drum.
The thing is I've spent months in the past mixing just one song down because you're always hearing faults so try not to get into that trap.
 
easyrider said:
I have been looking at the Oktava MK-012-01 Seem to get really great reviews and offer a lot of mic and options for the money...

http://www.soundonsound.com/sos/1994_articles/jul94/oktavamk012.html

http://www.thomann.de/gb/oktava_mk_01201_mkiimatched_pair.htm
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Yes, nice mics. I bought one and had it modded by Michael Joly in the States. Improves it dramatically (Or you can buy from him pre-modded) Quite a lot of bottom end for an SDC. TBH though as a pair I prefer the CM3s at the moment - they may or not be better for overheads but I think they're better all rounders, smoother to my ears, and so more useful overall.

You'd have to buy the Oktava's at the same time to get a matched pair, I wouldn't trust buying them separately. Whereas the CM3s, although not sold as matched, are handmade by one chap to very strict tolerances.

Of course, you pays yer money and takes yer choice. I've bought too much gear on others' recomendations which turned out to be bad for me (Rode NT2A looking at you, yuk!)
 
banja said:
You'd have to buy the Oktava's at the same time to get a matched pair, I wouldn't trust buying them separately. Whereas the CM3s, although not sold as matched, are handmade by one chap to very strict tolerances.
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They come as a matched pair mate see link. You posted it all the way to America ?

As for the CM3 where did you buy them ?
 
easyrider said:
They come as a matched pair mate see link. You posted it all the way to America ?

As for the CM3 where did you buy them ?
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Yeah just saying that cos you could probably buy the CM3s one at a time and still use them as a pair.

I did post all the way to US - pound was stronger then iirc so was cheaper. I also bought another mic from him so postage back was all bundled.

If you google search Line Audio CM3, the first result takes you to Line Audio's site. I think he only sells direct, with maybe a UK reseller, no retail. I think costs would be higher otherwise. I think they're great value. But bear in mind VAT isn't included once you convert from the Swedish SEK. I think it worked out just over £200 total for two CM3s. There's a massive thread on Gearslutz just dedicated to them.
 
SexyGreyFox said:
Off out with my new band in a minute so a quick reply from the first minute.

Right at the start you hear a bass drum that sounds good but is then missing from the mix.
The snare sounds weak, mess with the tone and different reverbs.
Actually after a third listen it doesn't sound too bad but still do the above, it can be better.
The vocal needs rounding with a bit of reverb/delay.

Just listened through my DAC and Fidue A83 earphones and it does sound very good but the above still need addressing especially the bass drum.
The thing is I've spent months in the past mixing just one song down because you're always hearing faults so try not to get into that trap.
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I really appreciate you taking the time to listen and advise.

I think I'll have to carve out some frequencies around the kick. I used a stereo reverb on the snare but I think I'll try with a mono one.

I had the same thoughts as you really. I'm going to take this all on board and have a tweak.

I still don't really know what I'm doing in the sense that I know what needs fixing but don't know exactly how to fix it. It's probably why everything takes so long because it's basically just a trial and error process for me. Add to that I have no room treatment and it makes it a but of a pain! Haha.

I know what you mean about the trap on tweaking. I've never had any real deadlines so I can just go on and on and on.
 
Easyrider - where's your mic list for the drums again? I'll give you some suggested positions. :) On a side note, I have a pair of those Oktavas, and use them for snare and hats.

Another thing which often gets overlooked is damping. As an example, hit a cymbal and walk a few feet away until its decayed down. Then, put your ear a few inches away from the edge...

A similar thing is happening with the skinned heads, the tone that you get isn't the same as what you hear from slightly further away, so sometimes damping the skins more than you might normally do can really help tighten up the sound. It might sound a bit too damped when you're in the room, but it's the recording that you're looking for.

Snare mic positions - something I've been doing a lot of experimenting with. A tip that Mike Exeter gave me was to try the old 'SM57 with a small diaphragm condenser taped under it' but pull it further back than you might normally expect - 3/4 of a foot or so. The 57 ends up being aimed towards the top skin, and the SDC underneath ends up pointing at the side of the snare. If you've got a channel and another 57 spare, point it at the snare wires, flip the phase then blend to suit. This is rapidly become my 'go to' snare mic positions for studio use.

Have a watch of this video, Clint and Mike give a run down of some good mics and positions. The 414 or 'Floor 1 4' techniques of Clint's is great too, another tried and tested one I come back to. Take note of the positioning of the 57 on the snare - this is what I'm getting at above. I tape mine underneath rather than the side, because it means if the drummer does something stupid and hits the mic, the SDC is protected by the 57!

 
Lowe said:
Easyrider - where's your mic list for the drums again? I'll give you some suggested positions. :) On a side note, I have a pair of those Oktavas, and use them for snare and hats.
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Interesting video mate cheers for posting.

http://www.shure.co.uk/products/drum_microphone_sets/dmk57-52

I got it new for £325 and figure having a few Sm57's around would be useful for amps aswell etc...

I'm going to order the Oktava this weekend.

Listen to the acoustic guitar on this...A-B spaced pair 4 mins 50sec

 
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easyrider said:
It was more the process...

I'm pulling my hair out trying to get a decent Drum sound...Its great fun:D

But I can see he appeal...Have you listened to any Ten City?
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No, they're deep house. I'm more of an uplifting trance man. Plenty of soaring leads, filter sweeps, epic pads, that sort of thing.

Talking about drums, Armin Van Buuren once said it could take him 2 days to get the perfect kick drum for a song. :eek: He must be ultra fussy.
 
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