Recording setup - which mics to use and what to DI?

[mattr]

Next week I'm recording a demo for my friend's "hardcore post-punk rock" band I'm practiced with doing quick recordings, but I want to get this one sounding really good, so I'd like to bounce some options off of the pro's to see what they think.


Mic'ing drums, I'm currently thinking...

2x NT3 as overheads
AKG D112 on kick
2x SM57 on top and bottom of snare
Senn MD421 between the two middle toms (I've heard it picks both up well)
Another 421 on the floor tom
C1000s on hi-hat? (would this be too bright?)


For bass I'm going to DI it and mic it with the D112 (Hartke amp). I've done this for live recording with a Sennheiser bass mic and it worked nicely - I liked mixing it later because you got the nice sounding bass from the mic and some of the 'twang' from the DI.

Guitars is where I'm stuck. My friend has already done some good sounding recordings using the DI from his amp, so I'm wondering whether to do this.

My options are...

• DI and mic the amp
• Record directly and use amp modelling / distortion plugins
• Record directly and then play back through a mic'd cab

If I mic the amp I don't know whether to go with an SM57, a MD421 or a Rode NT1000. Any views?

Vocals I'm currently thinking either NT1000 or Groove Tube (don't know which one) for lead, and SM58 or MD421 for scream vocals.


Is there anything blaringly wrong with my plans? Anything I could swap around? Please give me your views Thanks!

 

[Zeke_Sayer]

if he got a good sound from going direct, then record a direct line, BUT mic the cab and send that to a track as well, and blend them later. If you don't have enough tracks to do that, just go with micing the cab, in the end it comes out better. You just have to mess with it for a little bit to find that "sweet spot". Yes, 57's are the #1 most used mic for guitar amps. That doesn't mean they are the best, but in my experience, i don't have to look much further than a 57 to find what I'm looking for.


good luck,

Zeke

 

[Ripthorn]

I like the 421 over the 57 for a loud, distorted marshall in most cases (I don't like the word always when applied to recording). The 57 is a good all-rounder. If you have the tracks, get as many different recordings as possible to up your options.