I just built my new studio in its own building with a vocal booth big enough to fit a live drummer or guitar. I have never miced live drums or guitars before and i was hopeing you could help. For the drums i have ordered the sampson 7 peice drum mic set for $300.00. Do you think these mics will work well? I have yet to buy a mic for the guitars yet do you have any recomendations? And for the guitar what type of signal processors will i need? Any tips you could share would be great and if you could point me twords a good book on the subject that would be great too.
@ Heresy
- Thread starter PainLoc
- Start date
Whats up man? I've never used those mics personally but I've heard good things from users. You should also pick up an sm58 or 57 (SHURE) while your at it. The samson Q3 is a nice choice also. Other brands to look into are seinheiser, akg and audio technica. You dont know HOW to mic the kit huh? I'll help you with that after you get it set up.
As far as mics for the guitar WHAT kind of guitar is it and WHAT type of sound are you looking for? What type of cabinet or heads are you using?
Concerning signal processors I need to know WHAT style of music you are playing. BOSS, TC and POD units work fine but you DON'T need distortion pedals if your doing soft r&b. Are you doing any LIVE gigging or will the guitars and processors be used for studio work? A direct box/line level shifter wouldnt hurt but what do you plan on routing these thinsg to? An external mixer or to a pro tools unit like the digi 002 or 002r? Give me some more info pimp.
:HGK:
As far as mics for the guitar WHAT kind of guitar is it and WHAT type of sound are you looking for? What type of cabinet or heads are you using?
Concerning signal processors I need to know WHAT style of music you are playing. BOSS, TC and POD units work fine but you DON'T need distortion pedals if your doing soft r&b. Are you doing any LIVE gigging or will the guitars and processors be used for studio work? A direct box/line level shifter wouldnt hurt but what do you plan on routing these thinsg to? An external mixer or to a pro tools unit like the digi 002 or 002r? Give me some more info pimp.
:HGK:
o.k let me start with my set up as of right now
Custom Built P4 3.0 ghz with R.A.I.D, two 80 gig hard drives,one 120 gig hard drive, 1 gig of ram and roland R-BUS pci card
Cubase SX, Reason 2.5, soundforge 7.0, acid pro 4.0, wave lab 4.0 a bunch of plug ins and vst's
Roland SI-24 Daw controler
Mackie 32.4 vlz pro mixer
Roland DS 90 monitors
Korg triton studio 61
Emu mk6 synth
Rode Ntk mic
Sampson 7 piece drum mics
Sampson headphone amp
akg headphones
I want guitar mics to record any type of music a client wants to pay me to record. We will probably be mostly recording metal/thrash bands in adition to the hip hop and r&b artists we currently record. Once in awhile my uncles blues band will record a track or two in our studio. And for them i will need a mic that is suited for a sax and a harmonica also. You lost me talking about heads and all that other stuff. Up untill now everything i have recorded was hip hop or r&b using the triton for beats or the 505 groovebox. I have a basic idea of how to set up the mics for the drums. Tell me if im wrong. You mic the bass drum by putting the mic inside the drum itself and the other smaller drums by using a mic stand and pointing the mic directly over and pointing at the drum. same thing with the symbols. Then you use a good stereo mic placed directly overhead. as for guitars. you got me. Is it o.k on a electric guitar to run it directly into the mixer. Or do i need something in front of the signal? Or do i mic the damn thing like i would a acoustic guitar? Also when recording a rock band do i record the drums first then the lead then the bass or do i try to record them all at the same time? My vocal/drum booth is 8 foot by 12 foot so im not sure how big a drum kit is but i would think it would get a bit cramped in there. Sorry bout all the questions i just want to get it right and not spend money on mics that are going to prove useless. Its like when i tried to record vocals the first time with a radio shak mic. thats what i am trying to avoid.
Custom Built P4 3.0 ghz with R.A.I.D, two 80 gig hard drives,one 120 gig hard drive, 1 gig of ram and roland R-BUS pci card
Cubase SX, Reason 2.5, soundforge 7.0, acid pro 4.0, wave lab 4.0 a bunch of plug ins and vst's
Roland SI-24 Daw controler
Mackie 32.4 vlz pro mixer
Roland DS 90 monitors
Korg triton studio 61
Emu mk6 synth
Rode Ntk mic
Sampson 7 piece drum mics
Sampson headphone amp
akg headphones
I want guitar mics to record any type of music a client wants to pay me to record. We will probably be mostly recording metal/thrash bands in adition to the hip hop and r&b artists we currently record. Once in awhile my uncles blues band will record a track or two in our studio. And for them i will need a mic that is suited for a sax and a harmonica also. You lost me talking about heads and all that other stuff. Up untill now everything i have recorded was hip hop or r&b using the triton for beats or the 505 groovebox. I have a basic idea of how to set up the mics for the drums. Tell me if im wrong. You mic the bass drum by putting the mic inside the drum itself and the other smaller drums by using a mic stand and pointing the mic directly over and pointing at the drum. same thing with the symbols. Then you use a good stereo mic placed directly overhead. as for guitars. you got me. Is it o.k on a electric guitar to run it directly into the mixer. Or do i need something in front of the signal? Or do i mic the damn thing like i would a acoustic guitar? Also when recording a rock band do i record the drums first then the lead then the bass or do i try to record them all at the same time? My vocal/drum booth is 8 foot by 12 foot so im not sure how big a drum kit is but i would think it would get a bit cramped in there. Sorry bout all the questions i just want to get it right and not spend money on mics that are going to prove useless. Its like when i tried to record vocals the first time with a radio shak mic. thats what i am trying to avoid.
^^^^ ACTUALLY YOU DID QUITE WELL FAG BOY. WHY YOU QUOTED HIM *AND* GAVE YOUR ANSWERS IN *HIS* POST IS BEYOND ME....STOP BEING GAY!
LOL!
@PAINLOC WHAT RAGIN SAID IS ON POINT. YOU HAVE TO EXPERIMENT WITH *PLACEMENT* TO GET THE SOUND THAT YOU WANT. ROOM ACOUSTICS AND HOW YOU *TUNE* YOUR KIT WILL MAKE AN IMPACT ON THE RECORDED SOUND ALSO. NOT TO MENTION *WHERE* THE DRUMMER ACTUALLY HITS. TRY HITTING THE SNARE IN THE MIDDLE AND COMPARE THAT TO THE SOUND YOU WOULD GET BY HITTING THE SNARE ON THE EDGE. SPEAKING OF ROOM ACOUSTICS YOU MAY WANT TO SET THE KIT OFF THE GROUND (TO REDUCE RUMBLE) AND USE SOUND PANELS AROUND YOUR DRUMS. SOUND PANELS LOOK LIKE CLEAR PIECES OF PLASTIC OR GLASS. YOU CAN USE THEM FOR AMPS ALSO.
FOLLOW RAGINS ADVICE AND LOOK INTO THE CLIPS. SNATCH A DIRECT BOX FOR YOUR GUITARS AND YOU SHOULD BE SET. CONCERNING PEDALS AND FX YOU WILL NEED AN OVERDRIVE, DISTORTION, PHASE SHIFTER, WAH, CHORUS, FLANGER AND DELAY.
WHEN RECORDING THE GUITAR YOU ARE GOING TO EITHER RECORD THE SOUND COMING *FROM* THE SPEAKER OR YOU'LL RECORD THE SIGNAL (GUITAR PLUGGED INTO DI BOX AND/OR MIXER). YOU HAVE TO EXPERIMENT TO SEE WHICH ONE WORKS BEST FOR YOU.
CONCERNING WHEN/HOW TO RECORD THATS TYPICALLY UP TO YOU AND THE BAND. SOME BANDS *WANT* TO RECORD IN THE SAME ROOM AT THE SAME TIME, SOME AT THE SAME TIME BUT IN DIFFERENT ROOMS (IF YOU HAVE THE ROOMS) OR SEPERATELY. FOLLOW POINTS 1-6 IF YOU RECORD SEPERATELY. YOU CAN SWITCH IT UP BUT MAKE SURE YOU RECORD THE DRUMS *FIRST* BECAUSE IT'S GOING TO ACT AS A METRONOME/CLICK TRACK FOR EVERYTHING ELSE.
ANY OTHER QUESTIONS JUST ASK MYSELF OR RAGINFAGGOT.
:HGK:
LOL!
@PAINLOC WHAT RAGIN SAID IS ON POINT. YOU HAVE TO EXPERIMENT WITH *PLACEMENT* TO GET THE SOUND THAT YOU WANT. ROOM ACOUSTICS AND HOW YOU *TUNE* YOUR KIT WILL MAKE AN IMPACT ON THE RECORDED SOUND ALSO. NOT TO MENTION *WHERE* THE DRUMMER ACTUALLY HITS. TRY HITTING THE SNARE IN THE MIDDLE AND COMPARE THAT TO THE SOUND YOU WOULD GET BY HITTING THE SNARE ON THE EDGE. SPEAKING OF ROOM ACOUSTICS YOU MAY WANT TO SET THE KIT OFF THE GROUND (TO REDUCE RUMBLE) AND USE SOUND PANELS AROUND YOUR DRUMS. SOUND PANELS LOOK LIKE CLEAR PIECES OF PLASTIC OR GLASS. YOU CAN USE THEM FOR AMPS ALSO.
FOLLOW RAGINS ADVICE AND LOOK INTO THE CLIPS. SNATCH A DIRECT BOX FOR YOUR GUITARS AND YOU SHOULD BE SET. CONCERNING PEDALS AND FX YOU WILL NEED AN OVERDRIVE, DISTORTION, PHASE SHIFTER, WAH, CHORUS, FLANGER AND DELAY.
WHEN RECORDING THE GUITAR YOU ARE GOING TO EITHER RECORD THE SOUND COMING *FROM* THE SPEAKER OR YOU'LL RECORD THE SIGNAL (GUITAR PLUGGED INTO DI BOX AND/OR MIXER). YOU HAVE TO EXPERIMENT TO SEE WHICH ONE WORKS BEST FOR YOU.
CONCERNING WHEN/HOW TO RECORD THATS TYPICALLY UP TO YOU AND THE BAND. SOME BANDS *WANT* TO RECORD IN THE SAME ROOM AT THE SAME TIME, SOME AT THE SAME TIME BUT IN DIFFERENT ROOMS (IF YOU HAVE THE ROOMS) OR SEPERATELY. FOLLOW POINTS 1-6 IF YOU RECORD SEPERATELY. YOU CAN SWITCH IT UP BUT MAKE SURE YOU RECORD THE DRUMS *FIRST* BECAUSE IT'S GOING TO ACT AS A METRONOME/CLICK TRACK FOR EVERYTHING ELSE.
ANY OTHER QUESTIONS JUST ASK MYSELF OR RAGINFAGGOT.
:HGK:
I'VE *NEVER* RUN ACROSS A BAND (ESPECIALLY GUITAR PLAYERS) THAT *DIDN'T* HAVE THEIR OWN STOMP BOXES, CABS AND STRINGS. THATS ALMOST LIKE A RAPPER COMING TO YOUR STUDIO AND USING *YOUR* RAPS. THE DISTORTION AND OVERDRIVE PEDALS WILL BE USED FOR ROCK/METAL/PUNK/WHATEVER IT IS THEY DO. THATS NOT SOMETHING YOU NEED FOR FUNK, R&B OR RAP....UNLESS OF COURSE YOU DO METAL/RAP LIKE I DO. IF YOU'RE RUNNING A STUDIO GEARED TOWARDS ROCKERS AND RAPPERS YOU SHOULD HAVE GEAR THEY CAN USE. THAT WAY THEY CAN SWITCH UP AND GET A DIFFERENT TONE/SOUND. SOME STUDIOS ALLOW YOU TO USE THE GUITARS AND DRUMS BUT THEY ASK THAT YOU REPLACE THE STRINGS, STICKS ETC ETC ETC.
IT'S ALL UP TO *YOU* AND HOW YOU RUN YOUR BUSINESS. IF YOUR CLIENTS ARE *CONSTANTLY* ASKING FOR A PIECE OF GEAR YOU SHOULD DO YOUR BEST TO GET IT. IT WILL PAY FOR ITSELF IN A MATTER OF SESSIONS IF YOU PLAY YOUR CARDS RIGHT. YOU SHOULD HOWEVER GET PEDALS AND HEADS FOR *YOUR* MUSIC NEEDS NOT JUST FOR OUTSIDERS.
HOW DO YOU HAVE YOUR GEAR CONNECTED? **SPECIFICALLY** HOW IS THE SOUND ROUTED TO AND FROM YOUR COMPUTER?
:HGK:
IT'S ALL UP TO *YOU* AND HOW YOU RUN YOUR BUSINESS. IF YOUR CLIENTS ARE *CONSTANTLY* ASKING FOR A PIECE OF GEAR YOU SHOULD DO YOUR BEST TO GET IT. IT WILL PAY FOR ITSELF IN A MATTER OF SESSIONS IF YOU PLAY YOUR CARDS RIGHT. YOU SHOULD HOWEVER GET PEDALS AND HEADS FOR *YOUR* MUSIC NEEDS NOT JUST FOR OUTSIDERS.
HOW DO YOU HAVE YOUR GEAR CONNECTED? **SPECIFICALLY** HOW IS THE SOUND ROUTED TO AND FROM YOUR COMPUTER?
:HGK:
As of now nothing is connected. We recently found a building to put the studio in so it would not be in my house anymore. WE just finished building the vocal/drum booth and we are waiting for the roland SI-24 to arrive. The SI-24 is going to replace the Tascam-us428 we used up untill now.But we are going to run everything through the Mackie 32.4 vlz, so we can make use of the pre amps, and then into the Roland. But now i just found out that Roland has not yet made a control surface template for Cubase SX yet! They said it will be another month or two but they are working on it now. So i might be stuck with logic RPC untill the Template is done. If i actualy had some artists on my label that could play a guitar i would definitly buy them what they needed but for now all i am concerned with is matching up the right mics with the right style of music so i can actualy charge a rock band to record in my studio. Im tired of fucking with broke ass rappers. Always claiming to be some ballers but still livin in their mommas house and cryin about the meesly $20 bucks a hour i charge them.
I DON'T KNOW OF MANY STUDIOS THAT USE A CONTROL SURFACE AND MIXER IN THE SAME RECORDING CHAIN. WHY ARENT YOU LOOKING INTO THE STEINBERG HOUSTON? I WOULD DO ONE OF THE FOLLOWING:
1.GET RID OF THE MACKIE AND USE THAT MONEY TO BUY SOMETHING ELSE. MAYBE A BETTER PRE.
2.GET RID OF THE CONTROL SURFACE AND USE THAT MONEY TO BUY SOMETHING ELSE..
I WOULDNT USE BOTH IN MY CHAIN.
1.GET RID OF THE MACKIE AND USE THAT MONEY TO BUY SOMETHING ELSE. MAYBE A BETTER PRE.
2.GET RID OF THE CONTROL SURFACE AND USE THAT MONEY TO BUY SOMETHING ELSE..
I WOULDNT USE BOTH IN MY CHAIN.
originaly we were not going to buy the mackie. We were just going to buy some nice mic pre's. But as you said in another post about the triton, people want eye candy. And no one would take us seriously as a studio without "One of those big boards." As soon as we got the mackie our bussniess doubled. We may buy another si-24 and connect it to our other si-24 with the r-bus cable and just use the mackie as a live mixer but we will definitly keep it on its stand so people can see the "eye candy". Steinberg no longer supports the houston and the unit has been dicontinued. So thats a no go.