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I'm working on it too. Simon Phillips got me going on that. Another lefty....

Love the leading right hand on the HH during the tom figures. Nice!

I've used a 414 and some light optical compression and played with the mic placement. It's not difficult, but you want your room quiet.

Honestly chimes are a good candidate for samples. It takes a few seconds to find a good chime sweep. It takes much longer to "perform" and record a chime sweep.

RAMI?

The legal and copyright implications are dramatically diminished if you don't talk about it. Just make the music and have fun.

This^^^

I'm glad this thread is still chugging along.

Stuart Copeland has many difficult fills, but the beats themselves are mostly simple one-drops, steppers, and backbeats. To Grim's point, it was his implementation of those beats that helped those compositions sound so great.

I use an RE20 and it is absolutely my go-to mic for vocals.

Maybe instead just get a nice medium diaphragm dynamic like a Shure SM7 or an ElectroVoice RE-20. Pair that with a nice LA2A plugin and thank me later.

None of that treatment is going to make the drums quieter. Different heads and a drummer with finesse can though.

Do you NEED soundproofing? Or is it enough that the room sounds good? Often these goals are exclusionary.

In a room that size with those dimensions, you can't have too many bass traps.

What are you recording? If not acoustic drums, you can save quite a bit.

No.

You forgot option 3: Work with your neighbor to develop a good relationship and identify times you can record without the neighbor getting annoyed (or the neighbor walking around and ruining good takes). Cost: $0

What do your ears tell you? Making a good sounding recording space is about more than absorbtion. You also want reflection and symmetry in your listening position.

What are you recording? If you're not recording acoustic drums you can get away with a lot less treatment.

Yeah just do it in a separate track.