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Thanks Skip, I'll give that a shot.

Cool Skip. I was thinking of trying that method next time I was going to record drums. Really cool since it uses so few mics. There are so many ways to record drum and it is always neat to pick up a new way.


I would be down for putting a song on the comp. I am trying to push my band to just have new songs on the recording we are going to be doing but we also want to rerecord one old song that was on the demo. If we get a good recording of that we could put that on the comp.

No problem guys!!!

Couple pointers:

1) I've found that Dynamic mics like an Audix i5, Heil PR30, or SM57 work really good as the overheads. They seem to capture the low end of the toms alot better and keep the cymbals from being too shiny in comparison to condensors. Dynamics give you more drum sound and less room sound, so it you want a cleaner sound that you can add your own "space" too use dynamics, if you have a really good room that you love how the drums sound in then use condensers.

2) ALWAYS make sure the two "overheads" are equi-distant, as these are the only two mics in the setup that are really affected by phase. The kick drum mic is almost never a problem, and the snare can present a phase problem but you'll know pretty quickly if you listen in headphones before hitting record as it will seem to bloom and take over the sound instead of blending in with the overheads.

3) When mixing always do overheads first, then add in the kick and then finally snare. The snare channel will most likely be really low in the mix as its also the focal point of the overheads. And don't be afraid to squash it as the overheads will keep the dynamics of it present and blended well.

4) Don't hard pan the overheads. Over snare I usually keep dead center, and pan the over shoulder half to three quarters left until the floor tom lines up in my ears with the over snare, if they are turly equi-distant you'll never hear the snare deviate from center as you pan.

5) send them to 2 busses, one with slight comp and the usual drum treatment. and the other buss squashed into oblivion and mixed in quietly under the other buss (i usually mix this buss in once I have all the instruments in to help with the cut through of the drums without affecting their overall level or tone.

Ancient Astronaught wrote:No problem guys!!!

Couple pointers:

1) I've found that Dynamic mics like an Audix i5, Heil PR30, or SM57 work really good as the overheads. They seem to capture the low end of the toms alot better and keep the cymbals from being too shiny in comparison to condensors. Dynamics give you more drum sound and less room sound, so it you want a cleaner sound that you can add your own "space" too use dynamics, if you have a really good room that you love how the drums sound in then use condensers.

2) ALWAYS make sure the two "overheads" are equi-distant, as these are the only two mics in the setup that are really affected by phase. The kick drum mic is almost never a problem, and the snare can present a phase problem but you'll know pretty quickly if you listen in headphones before hitting record as it will seem to bloom and take over the sound instead of blending in with the overheads.

3) When mixing always do overheads first, then add in the kick and then finally snare. The snare channel will most likely be really low in the mix as its also the focal point of the overheads. And don't be afraid to squash it as the overheads will keep the dynamics of it present and blended well.

4) Don't hard pan the overheads. Over snare I usually keep dead center, and pan the over shoulder half to three quarters left until the floor tom lines up in my ears with the over snare, if they are turly equi-distant you'll never hear the snare deviate from center as you pan.

5) send them to 2 busses, one with slight comp and the usual drum treatment. and the other buss squashed into oblivion and mixed in quietly under the other buss (i usually mix this buss in once I have all the instruments in to help with the cut through of the drums without affecting their overall level or tone.

I have 2 i5s and 2 SM57s so this is good news. You mix drums as if you were sitting in front of the kit? I mix mine as if I'm sitting behind the kit playing it. I guess that comes from air drumming when listening to mixes. I feel weird air drumming on a hihat to the left side while it's coming out of the right speaker more. What ratio of compression do you suggest for the busses? Compression is something I just started messing around with and I really don't know what sounds best in a full mix once its all together.

conky wrote:[I have 2 i5s and 2 SM57s so this is good news. You mix drums as if you were sitting in front of the kit? I mix mine as if I'm sitting behind the kit playing it. I guess that comes from air drumming when listening to mixes. I feel weird air drumming on a hihat to the left side while it's coming out of the right speaker more. What ratio of compression do you suggest for the busses? Compression is something I just started messing around with and I really don't know what sounds best in a full mix once its all together.

Put the I5's over head and the 57's on the kick and snare. Yes I do, I mix anything as if I'm watching the band. It's how I listen to music, its how I see them at shows. And even after playing drums for 20 years I still need to hear the drums opposite of being behind the kit. I want to hear them as the fans would hear them live not as I hear them. I feel its selfish to want you to hear them as I hear them when playing for some reason.

Buss 1) Ratio 1.2-1.4 with attack set to capture a whole snare hit and not much beyond with release set to taste which is usually pretty quick. This basically takes the individual tracks and melds them together into a cohesive unit. Also watch teh cymbals when dialing in the attack and release, they are the tell tale signs of bad compression.

Buss 2) Ratio maxxed, fast attack long release. If you listen to this buss alone it will sound like shit. Every hit will be forward and pronounced. But when you mix this in under the normal buss all of a sudden each drum hit hits much harder and cuts through really well.

Awesome, I'll try it when we record. Thanks man!

Anytime buddy!

So who's band is down for the comp? My band is down and one of my friends are down for it as well. I'm sure I can round up 2 or 4 more bands that aren't doom room regulars that would be a great fit though. But if you wanna keep it ILF exclusive that's cool too.

conky wrote:So who's band is down for the comp? My band is down and one of my friends are down for it as well. I'm sure I can round up 2 or 4 more bands that aren't doom room regulars that would be a great fit though. But if you wanna keep it ILF exclusive that's cool too.

I am all down as well, have a 7 minute track that will be mastered up to full potential in about 3 weeks.

Would be cool to keep it just bands from here, we should ask around and if it comes down to it and we just aren't getting any more ILF submissions but have some space to fill, then we approach other bands.

Do we want to do tape or CD?

Artwork ideas? I have a few negative photos of some foggy skies I took recently that are just begging to be used for some designs....

Here is a template my buddy helped me actualize from a concept I had for this upcoming release:

https://docs.google.com/file/d/0B4Xb59a ... ZHTW1FRVE/

I'm down with either tape or cd. I finally got my tape deck working so I can listen to tapes again. My guityarist said he'd do the artwork for it if you wanted. You can check some of his stuff out at:

https://www.facebook.com/deadhandmm

conky wrote:I'm down with either tape or cd. I finally got my tape deck working so I can listen to tapes again. My guityarist said he'd do the artwork for it if you wanted. You can check some of his stuff out at:

https://www.facebook.com/deadhandmm

"Artwork based mostly on the concept of balance." I'm sold! Unfortunately I don't have money to put into an art commission for this at the moment unless he is willing to donate/"license" a work. His stuff rules pretty hard though, glad you shared I definitely want to commission him for something in the future!

I'm sure he'll do it for free since we'll have a track on the comp. He doesn't charge a lot for his work. I can't remember how much he told me he charged this band from down south for a shirt design but it was way cheaper than what I'd expect to have to pay for something of that caliber.