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I see what you're saying Gonzo. I'm not sure how much bottom snare mic I will need at this point. The band is coming today to track the basics so I'll listen to both and see. So I guess you prefer the LA610s on overheads instead of the APIs? ...or is it that you don't like the LA610s on drums?

Hello everyone... I'm currently recording a classic rock band. The drummer has a single kick, two mounted toms and a floor tom. I have an API 3124 preamp and (2) LA 610s. My plan was to use 2 SM57s on the snare (top n bottom), a D112 inside the sound hole of the kick and a sub kick outside...

I ultimately would like to use better pres than the stock Focusrite Saffire pres. So getting more quality preamps is always a consideration. But in the short term, what do you think the obvious upgrade to make is? I could buy 2 Vintech 573 pres to add to my lunchbox or upgrade my over head...

I'm looking to improve my drum recordings and think I might get more bang for the buck getting / replacing a mic I currently have for a better one rather than add more preamps...? Here is what I am using for drums at the moment: Kick - AKG D112 ---> API 512c Snare Top - SM57 ----> API 512c...

Yea... I'm kinda stuck with this space right now. My ceilings aren't high enough to hang some absorption "clouds" so I was thinking about making sure my overheads are no more than halfway between the cymbals and the ceiling. I'm concerned about reflections AND phase in this space. I figured...

My room is definitely the weakest link - it's my basement with carpet and drop ceiling. I do have some 4" bass traps hanging on the walls but I am concerned about reflections coming off the ceiling . So... You would go with the API pres on snare and kick and use the UA LA610's for overheads?

Hello everyone! Here's my question... I am about to record my bands drummer and have an assortment of mics and a couple mic pre's to choose from but don't know which to use where. We are a 70's top 40's / rock band. ...think Doobies, Steely Dan, America, Guess Who.... Here is my current...

Thanks for the info Ethan. I have pretty much followed your advice from the beginning of this thread except for the insulation above the ceiling tiles. I took apart the (12) 2' x 4' x 2" panels I made and doubled up the insulation (and purchased 6 more 4" pcs of OC703). Now I have (12) 2' x 4'...

Thanks Ethan. Will the RealTraps ceiling tiles work better than insulating above standard ceiling tiles? How effective is insulating above my current drop ceiling? I thought the sound would just reflect off the ceiling and not even get to the insulation behind it.

Actually, they are made for this application. Cut a little smaller so you can drop them right in without any trouble. If they are OC703 - they won't be heavy at all. Just wondering if the result (bass trapping) will be similar to insulating the floor joists above the ceiling.

I have alot of plumbing / electrical fixtures and wires above the drop ceiling making it a little difficult to put insulation there. Would I get a similar result from dropping in some 3" thick ceiling tiles made for absorbtion....leaving the space above un-treated?

Huh? You must be kidding...:)

Here's a pic from the bar looking into the band room.

The panels are made from Owens Corning 703. I bought 12 of these from ATS Acoustics and made my own. I did not use these in the corners, just all the way around the room. I am in the process of taking these apart and doubling the insulation and recovering them so they are 4" thick. I won't...

Ok - thanks for the response. I was told the reason the room became dead was the heavy backdrop coupled with (12) 2" sound absorbers. The 2" are responsible for absorbing higher frequencies and doing nothing for bass frequencies. My hope is that by removing the (12) 2" panels and converting...

Hello all! My band practice room / tracking room is in my basement. The back line (drums and amps) go all the way across the back wall. Do I need bass traps behind the gear? I have a drop ceiling, low pile carpet, and paneling. The room is 13' wide, 23' long, 8' tall. The gear is along...

I see what you're saying - the wav file in the audio folder remains untouched - the software "interprets" the cut /edit "virtually".

That's an approach to comping I never considered. Thanks for the great insight - this has always been a mystery to me. I've actually spent hours cutting out dead air, never realizing that there is a non-destructive way to handle the this task. You must have one helluva powerful computer! LOL

Thanks for the Info Seafroggys! Did you "remove silence" on your drum tracks as GONZO-X does? I'm guessing you had 30+ tracks of drums if you did 3 takes. Did you remove the unused tracks, or "mute" them?