nothing is in the proverbial "face"

  • Thread starter Thread starter wes480
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wes480

wes480

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I have done about 7 songs in what I am calling "phase 1" of my learning/recording.

I am pretty happy with how things turned out...for demos...just to get a better idea of the songs...made some good chances..I am ready to move onto Phase 2...hopefully it will be better this time.

My biggest thing going into it is I dont think my tracks are quite "in your face" enough. Any tips on what i could do differently in tracking to make sure the vocals sound fat...the guitars sound really there...etc. I dunno, it pisses me off how Rubber Soul *still* sounds in your face...but, my stuff just sits there ;)

Any tips on tracking or mixing would be great...I wish I could say specifically what I thought was wrong...but its just an overall sound. Maybe the performances just need to be better...this time around i want to get dry tracks that sound damn good to me. I feel that with rock music....you should be able to have a great sounding mix with only a little volume adjustment/panning
 
Try having the vocalist double his part on two separate tracks, then pan them at 3 and 9 o'clock. This should help bring them out more.

Cy
 
* Proximity is a big factor. If you want your tracks to sound "closer," then you have to mic everthing closer. 57's pressed right up against the speaker . . . overheads brought in . . . moving the singer in just short of swallowing the mic . . . etc.

Using mics that take advantage of proximity effect is a good thing. I happen to have a couple of mics that do that well - the sm7 and the Marshall V67. By naturally boosting some of the lower-mids, they "move" the sound source up forward in the sound spectrum.

* You might try using less reverb and/or delay. Excessive embience tends to push tracks back farther.

* A slower attack time on your compressor is a good way to add punch. Opto-compressors like the Joemeek have a way of achieving a closer, punchier sound. I've used the Joemeek before on tracks that have already been recorded. It has a way of breathing a little extra life in them. To my ears, it has an odd way of bringing the sound forward.
 
chessrock - yeah....i hear ya.

defiately going to move way in on the mic this time....to get that intimate sound for vocals. guitars <sigh> i dunno, i am just not happy with what i am getting...i am going to double mic the cab this time...from closeup and from a bit back...and see how that works for me. I want that totally "there" guitar sound like from red hot chili peppers "californication".

Direct in on the bass...of course.

As far as the OH mics for drums....how close in can i afford to bring them? And should I mic them from behind where the drummer sits maybe instead of in front of?

I can use either a pair of NT3s, or a pair of Marshall 603s...which would you reccomend?

Vocals are going to be done with SP C1, and Marshall V67. I dont have a hardware compressor....(I might need one for guitars and such...to be able to get more in your face tracking?)

Or do you think I will be ok with just software compression after the fact?

If I really have to have it, I can get that dual RNC rack thing.
 
Some good ideas, there. All you can really do is try a bunch of things and see what works. I happen to love the sound of the Joemeek on guitars for that very reason. It just seems to give the illusion of bringing the amp "up closer" to your ears. I've messed around with some various settings on the Line 6 that kinda' do the same thing. I'm not really a huge huge fan of the Joemeek the way a lot of the people on this board are, but I do like it for that purpose.

As far as the drum overheads go, I guess all you can do is bring them in closer untill you hear them distort and then back off. You might want to look at maybe even using just one mic on overhead. I

Is your C1 one of the newer ones? If so, then you're in luck, because it has a -10db pad, which will allow you to bring it in even more. Also, the Oktava mc012's come with -10db pad capsules. The pads will just let you move the mics in even closer before distorting. If your C1 has it, then that might be your overhead right there - it is already known to handle high SPLs even without the pad.
 
chess -

I really like that idea...my only hesitation on doing that is not being able to get that nice "stereo" spread from 2 overheads.

How important do you think that is? Or do you think you just use 1 OH, and achieve stereo with the use of just a snare drum or another ambient room mic or something?
 
I'd use the NT3's or 603's in front of the kit for that. Better yet, use them as tom mics, and pan them a bit Right and Left (Left tom at 9 and Right tom at 3?). The small-diaphragm condensers will make good tom mics, but they'll also be sensitive enough to pick up a nice stereo image of the kit when the toms aren't being hit (especially the 603's with their wide pattern). Be sure not to gate them, of course, or you lose it. :)

That way, you're kind of eliminating any mics that are just kind of sitting back trying to capture the "big picture." With the exception of the C1, which you'd use to sort of pick up what the drummer is hearing from where he sits.
 
yep...i gotcha.

I am seeing now that I kind of have a conflict of interests in a way. I want the best of both worlds...something that is musically very true to the acoustic instruments....(like HAVING drum mics that get the 'big picture') but at the same time - wanting something that is in your face.

I'm sure there is a good medium for me somewhere in between....and I am going to spend the next couple of months trying to find it. I know for electric guitar I love the "in your face" compressed sound - but for a drumset...after reading the posts again I am having second thoughts.

I really like the C1 idea though. But...I think when i look back on the recordings in 5 years....the "space" of the drumset will be much more important to me than having it sound like a Nickelback record.

Have to pick your battles I guess ;) thanks for the advice chess...very helpful
 
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