Same old story again. Advice Needed!!!

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chadsxe

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I will start with a list of things I have to record with.

Delta 1010LT
DMP3
A wide selection of Shure Microphones (3xSM57, Beta 52, 2xBeta 56, Beta 58, PG52, 3xPG56)
A digital MD 4 Sony 4 track (which has two decent pres on it that I can use)

I need to record a band live in a garage. The band has two guitar players, bass, drummer, and singer. They are not looking for anything amazing. They just want something to hand off to someone, which lets them know they can play what is asked of them. There asking for this to be done as simple as possible. I do not want to record the bass player DI. It would confuse him and take away from what I am trying to do. So with this said what kind of mic placements should I be using. The only thing I know for sure is that I want to mic the two guitars on different tracks. As far as the bass and drums go I am in the dark. I was thinking one low mic placement to pick up the bass drum and bass and one overhead for the rest of the drums. Ehhh I have no clue let me know if you need to have more info. Thanks
 
Is it right that you just have 4 channels of pres, or have I missed something?

I'll assume you find a way to use 8 inputs on the 1010.

Let's see, 2 57s on guitar cabs. Use the PG52 on bass. Singer gets the B58 (and one of the DMP3 channels).

Drums are tricky. You have 4 channels left, but no condenser mics. B52 on kick. I would probably use the B56 on snare and the 57 as an overhead, and call it a day. If you want stereo overheads, pull a 57 off of guitar and use something else for that, like another B56.

Or better yet, try to borrow or rent a pair of small diaphragm condensers, and use the third 57 on snare.
 
search under my name and include the words triangle and trigger.
lots of helpfull tips ive posted in the last year.
 
Sorry I forgot to mention the two PG81s'. As far as pres go this is were I am lacking. I have the two stock ones on the 1010lt, the two on my DMP3, two that I am panning hard left and right on my Sony MD-4 into my the 1010lt, and I have a cheap mixer for the final two. Yeah It's bad I know. What do I do about the bass? I want to record him live with rest of the band but I don't dont think I have the equipment to record him DI. Like I said I am not intrested in getting the "best" sound, I am intrested in getting a decent sound easily.
 
Thanks Manning1 but I just read the Triangle tech and I don't think that is the method that is going to work for me. My idea is to have all the stuff ready before the band gets there and record every song live. This is an extremly tight band and I am confident each song will all be done in a few takes if not one. They just want a recording of three songs that they can show to someone proving that they can actually play.
 
an old crusty engineer taught me the triangle trick years ago.
it can still be used live. with a couple of riders. one the sound of the room contributes to the leakage sound quality. two you focus on mic positioning.
to quote crusty, and ive a feeling youll encounter this.
the more mics you introduce the more variables there are to control.
but its up to you.
 
That is a great point and I am going to take that in to consideration but I bought the equipment fot a reason and that is to record. I guess each situation is going to be diffrent and as much advice I get from this board I still am going to run in to problems. I am leaning towards a mic on each guitar and bass. One on the bass drum and one/or two overheads.
 
Easy = Set it all up like a show with a PA. Get the mix you want and use 2 57s to mic the PA speakers! You could then throw your kick into the mix along with vox or room mics, or whatever. Just a thought, never actually did it though. You said easy!
 
chadsxe said:
That is a great point and I am going to take that in to consideration but I bought the equipment fot a reason and that is to record.
Click to expand...

You did? You have more of a live mic collection. If this is just for recording, sell all of both kinds of 56s, the B58, the cheap mixer, the Sony, and maybe the PG52. Take that money & buy a good small mixer like the Yamaha MG12/4 and a large diaphraghm condenser in the $200-$300 range or better quality dynamic (SM7, Beyer M88, Senn MD421) of your choice. That gives you a 57 on each guitar, a 57 on snare, the PG81s as overheads, the B52 on kick, and a better vocal mic for the singer. The bass I really think you should see if you can go direct, either from a line out on the bass amp or a direct box (which can usually feed both a board and an amp), otherwise keep the PG52.
 
The reason why I have such a "live" mic collection is because one I play live a lot and two my drummer’s dad is high up on the ladder at Shure. As fare as buying a few new mics thats going to have to wait. I have what I have and I am going to use that for now. Like I said I want this to be like a live setup. They come in and play live and that’s it, no doubling up. My father is the singer so he can sing on the tracks at a different time.
 
Hear is a question for you. If I set this up like a live recording and then record the vocals later do you think it will be hard to capture the same feel between the two? Will the vocals just sound to produced compared to the rest of the track.
 
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