Criticize my recording set-up.

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John California

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The two overheads are ES57's(SM57 clone) and the mic next to the snare and kick is the ES58. I'm pretty sure i want more energy out of my cymbals, but some input would be good. Would raising the OH's help the cymbals without hurting the toms?
I'm thinking of using a 8" Kevlar coned woofer as a kick mic, it sounded pretty good recording my speakers playing the recording.(i don't have a drum set) Ill have to decide if i will keep it when i get there but if i do then it frees up the low mic, should i have it as a sole snare mic or do you think the OH's are getting enough snare?(the snare is a $700 concert snare, LOUD). Should it just become a third OH somehow?
I know most of these will just be answered by myself when im there but input and criticism would be nice.
 
Geez, 17 people have viewed this and no one can tell me my recording sounds like crap? A one word reply would be nice. I don't care if you tell me that my recording is decent and than go on about what you ate for lunch, just say something. I'm not one of those "NOOB PLZ READ HELP ME READ THIS I NEED HELP" people either, i just feel like im standing in a really awkward group and no one is saying anything because they think what they have to say isn't exiting, just say something.
 
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Sounds boxy and shrill. No eq yet?
Firts I'd say get away from the bottom of the snare. That's a positon's (typically) an add to an already solid sound.
That said I'm not shure how much of the middy' tom tones come from that low mic, the o/h's or o/h's + bad phase, or tuning.
No way to add a fourth input? Optimize the kick and snare positions then sort out the o/h positions and balances.
 
lol. Relax John. Have a cup of tea :)


Sounds like your overheads are really thin. Have you eqd the bag out of them?
 
the bag" I can guess, but is that an island thing over there? :)
 
Ha im drinking tea, i just feel like no one is drinking it with me and i feel lonely. Thanks for the suggestions.
> Sounds like your overheads are really thin. Have you eqd the bag out of them?

I haven't spent any time getting a good EQ, but i did throw a quick EQ to make the drummer happier with it. 6khz-20 were raised with 12K being the highest point. I also put a little midbass in, but i don't think we will have that later as the drummer had his kick too tight and he will fix that.
Where do suggest i start with the EQ?

And thanks for the input mixsit. I will spend more time on mic placement and phase next time, i had to rush it last time because most of the band(other than the drummer) had to leave and they wanted to hear something before they did. But like i said we have 7 hours next saturday. And ill probably have the low mic as high as i can get it( just over the snare) and i think i can get a good spot to use it as for the toms and snare.
 
John California said:
Geez, 17 people have viewed this and no one can tell me my recording sounds like crap? A one word reply would be nice. I don't care if you tell me that my recording is decent and than go on about what you ate for lunch, just say something. I'm not one of those "NOOB PLZ READ HELP ME READ THIS I NEED HELP" people either, i just feel like im standing in a really awkward group and no one is saying anything because they think what they have to say isn't exiting, just say something.
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Reread that and noticed i did sound a little of the tea. Didn't mean that, think i was happy throughout posting that, just came off wrong.
 
John California said:
Reread that and noticed i did sound a little of the tea. Didn't mean that, think i was happy throughout posting that, just came off wrong.
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What? I was just suggesting something to pass the time,lol.

Where to start with eq? I'd say none. Start without eq.

With such a limited setup, your best bet is to

1: Get the kit and player to sound as good as is possible.
2: Get the room to sound as good as possible.
3: Get the overheads to accurately portray the above as well as possible.


99 beginners out of 100 will somehow manage to not notice points one and two, and go straight to "where should I move my overheads",
but honestly I cant stress this enough.

Get someone to play the kit while you stand and listen.
If it doesn't sound great there and then, you have work to do before recording anything.

When you get to recording, think about the distance of the two mics mathematically.
If they are different distances from the snare for example, then the sound will reach them at different times and can cancel to an extent.
Same applies to kick.
If you want the kick and snare to naturally fall in the centre then your mics will need to be equidistant from each.
Something to think/read about.

Imagine how much easier it would be if you recorded and then with no effects it automatically sounded great.
That's what you should aim for IMO.
Also, that fan will need adjusting, but geez! Where to start?! :p
 
I would move the kit away from the wall and do kick/snare/overhead. The player will have to control himself and not bash the cymbals.
 
John California said:
Ha im drinking tea, i just feel like no one is drinking it with me and i feel lonely. Thanks for the suggestions.
> Sounds like your overheads are really thin. Have you eqd the bag out of them?

I haven't spent any time getting a good EQ, but i did throw a quick EQ to make the drummer happier with it. 6khz-20 were raised with 12K being the highest point. I also put a little midbass in, but i don't think we will have that later as the drummer had his kick too tight and he will fix that.
Where do suggest i start with the EQ?

And thanks for the input mixsit. I will spend more time on mic placement and phase next time, i had to rush it last time because most of the band(other than the drummer) had to leave and they wanted to hear something before they did. But like i said we have 7 hours next saturday. And ill probably have the low mic as high as i can get it( just over the snare) and i think i can get a good spot to use it as for the toms and snare.
Click to expand...
If I'm reading you right—The kick and snare do the most to anchor (pop and rock etc) the sound of a kit. That's why I'd still lean to a mic each and a sold sound from them.
a) The over heads can get toms and cymbals
b) A mic placed to get snare and toms—may do neither optimally. And now you have o/h's and that mic doing similar distant and partially distant versions.
c) 57's are rolled off at any thing but close distances and already have a bright top, so be aware of that –in your placements, expectations and eq.
d) I've done this (it's not popular or anything..) Place the two kit mics fairly low and tight in and around the drummer's elbow/shoulders. Put some soft baffles on either side.
This sort of a low 'recorder man like setup. It's dryer than from above, has more skins' vs brass (and less bleed from the room to boot.
Down sides- the ride can be closer that I'd like, and you'll want to try to rotate the hat side mic to the rear some (to get some distance) but center the mics on the snare. (important to center it's image).
I use Earthwork QTC-1's so there's no lacking in 'weight and low end at all. But I've also got some good dampening baffles up (and above with low ceilings!)
The 57's are going to still be a little light, but that's another reason to have the snare and kick fill that impression of meat' on the kit.
 
Hey man!

Im a bit of a noob on here myself, and i dont actually know much about recording YET as im only getting into it just now - but i drink a shedload of tea :) but im a drummer and ive been getting told off for ruining the atmosphere in studios/venues for years.

One thing im noticing, not sure if it will make a difference to the sound - is that the area surrounding your drums looks a bit bare? Maybe get some carpet under the kit, cover the rattly blinds with something....maybe a mattress? I dont know but maybe it might help tighten up the sound a bit? the snare sounds like it needs to be brought to life - is the skin old? Obviously you have already brought up the kick being dropped - its very similar in tone to the snare at the moment so all that cool stuff between kick/snare (boom/CHA!) is lost a bit.

I think Steenamaroo was bang on - the room needs to sound good first. What can you do in the room to warm it up a bit? Dont say put the heating on :p

That said - i m really just kind of guessing based on being a performer whos starting to get into recording rather than an expert. So i should probably shut up now
 
Carlito just nailed it. The sound of the Snare and the Kick are too similar.

First of all tune your kit to its best. Then get a mic in front of the kick so you get the beefy sound and not just the thin beater sound youre getting. Move the mic around to see what works best.

With the snare I would try 2 things: Either close mic the top of the snare and use the other mic as overhead or simply use both as overheads and rely on them for your snare sound. It depends on the sound youre trying to get. Overheads will be more dynamic but less defined, close miking the snare will yield a clearer sound but a less accurate image of the whole kit.

Try some of the advices people are giving around and then post a recording so we can hear and help (:
 
wallystripes said:
Carlito just nailed it. The sound of the Snare and the Kick are too similar.

First of all tune your kit to its best. Then get a mic in front of the kick so you get the beefy sound and not just the thin beater sound youre getting. Move the mic around to see what works best.

With the snare I would try 2 things: Either close mic the top of the snare and use the other mic as overhead or simply use both as overheads and rely on them for your snare sound. It depends on the sound youre trying to get. Overheads will be more dynamic but less defined, close miking the snare will yield a clearer sound but a less accurate image of the whole kit.

Try some of the advices people are giving around and then post a recording so we can hear and help (:
Click to expand...

Will do. Going back Saturday so ill will upload the stuff i get then.
 
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