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This is optimal

I write the song and develop the lyrics as they will be sung. Then I record the drums first. I don't need much of a guide track, and can often just play through without it. This is important because the drum phrasing and dynamics will inform how I should approach the other instruments. If...

hey Grim - I got a new acoustic kit. Ludwig Neusonic maple 4 piece. Zildjian K sweet and custom crashes, K sweet ride, 15" K Sweet HH, Meinl Byzance 18" crash, 8" K dark splash. DW 3000 series hardware, HH stand, and double kick pedal.

I have a Roland VAD kit, so it's normal-sized drum shells and stands. But then I have to wire the kit to the module and calibrate the hihats. That adds another 7-10 minutes. If the light isn't good during setup it can be a PITA.

It talkes me significantly longer to set up the electric kit than my acoustic kit. It's also more fragile. If a wire in the harness breaks I'm done.

I feel you man. After the divorce I lost my studio. I'm also sitting on a heap of nice mics I'm not going to use. Guitars and amps too.

Yeah, I had to learn to cope with the KRK's too. Nice rig, mang.

I have a roland VAD kit with a TD-27 and it is nice. The digital snare is exceptional for what it does. Electronic cymbals meh. Alesis strike pro is pretty nice too, but the roland snare is pretty kickass.

Beautiful console, Scott. I spot some pretty choice items. I liked the KRK V8s. What do you think of them?

TLDR: shouldn't be too difficult, depending on your needs. Much depends on what you want to record. It's a small room, which can be problematic for certain applications. I am happy you said "sound good" instead of "sound proof." You aren't going to be able to do much in a small second-story...

No. I'm going to go with no. Do you really need to close-mic all your toms? Or will a room mic/OH setup get you there?

For the e-drum curious: Electronic cymbals do not behave at all like acoustic cymbals. They work, but not in an expressive way. You won't break any sticks on an electric kit, so there's that.

Depends on if you skip leg day.

It's not a bad mic. There are better mics.

Matched pair of Josephson C42s Pair of AT 4050s Pair of Sennheiser MD421s AT D112 Bunch of SM57s I'm not using them and am willing to let them go for a reasonable offer.

I've got a matched pair of Josephson SDCs and a pair of AT 4050s I'm looking to sell, along with a D112 and a bunch of SM57s, if anybody is looking for a solid drum mic setup.

1:20 of 6/8 with fills every four bars that starts at 85bpm and ends at 95bpm?

I've done this with decent results, and later built a much larger structure that worked even better. In neither case was the studio "soundproof". If your situation allows it, it's much easier and less costly to get your room to sound good than it is to make it "soundproof." Be communicative and...

In case you get tired of recording in a tent, which produces sounds as if you were recording in a tent, a simple and elegant solution would be to use a large diaphragm dynamic microphone with good off-axis rejection like an SM7 or RE20.

Bring 'em back. I think they sound better.