http://www.mediafire.com/?p79ik19h3v8yj0q

The clip is no EQ or compression or anything... just set the panning and levels and that's it.

Starts with just overheads.

I used the 'ORTF' overhead micing technique... http://en.wikipedia.org/wiki/ORTF_stereo_technique

Around 0:45 we have the snare mics and kick mic in there...

Around 1:17 I get the tom mics going also. For that one I swapped the snare (Ludwig Accent CS, like the rest of the kit) for my sorta crappy Sonor 2005 ash snare. It's tuned really loose and snarey. I think that snare wants reverb.

So the mics were:

Avant 'Mondo' kick
Avant 'ADM' for the top of the snare
SM57 for the bottom of the snare, reversed polarity
Avant 'ATom' on the rack tom
Audix i5 on the floor tom (I like how this sounds on toms!)
Audio Technica AT2020 overheads

I wanna hear it with eq and compression.

That's what it looks like. Whoa, it's the same panning as the clip... you're IN THE DRIVER'S SEAT.

I think I'm coming down with something, so the recording I've been intending to do might be a little delayed. But yes, expect some funky shit soon...

Sounds good dude!! +1 on hearing it with eq and compression.


You should record another lil straight 4/4 drumjam sometime

Ah! Messing with a 4-piece again? I *almost* put my kit back to five pieces just last week.

Anyhoo, another vote for a compressed version.

Everything sounds good here. That is actually a pretty decent kick sound for having that much stuff crammed in the drum.

I have been using a sort of ORTF for a while now, and i dig it.

Okay then, here are sounds with comp and EQ and such: http://www.mediafire.com/?9tdvfwohh4m6am3

Which snare do you prefer... the angry sounding one or wumpy? Like, if I were to play it in... a funk tune...



Yeah... it's just less complicated this way. I'm getting myself used to it so I can do it at shows and stuff. For serious recordings though I'd probably get my 10" tom on there also, but for general going places and playing I'll just do a four piece...

Definitely the angry snare.

Though... if you are talking funky like old school Funkadelic stuff, the whumpsnare could also work for some of that.

About to listen..
But the first thing I thought was, HEY.
GEOFF COULD USE SOME REAL DRUMS FOR THIS THING WE'RE GONNA DO TOGETHER INSTEAD OF ELECTRONIC DRUMS.

Yeah, I totally could. It'd be a lot more convenient for me if you were ready for me to do it soon... I don't want to leave those overheads up FOREVER...

Yes, I will try to record it ASAP.
My Toneport is at Kaleb's house, but I could bust it out within a couple days of getting it.

Fuck kaleb and his pussy house

YEAH, YOU TELL 'EM, DAD.


But anyways, I'll be able to work out the new bass on this song too.

I like this just listening to my shitty laptop speakers. Will report back after I've heard it on the real system at home.

The i5 in my limited experience is like a "better" 57. Not as midrangey, crisper top end. Ours lives on our drummer's snare outside of a recording context. It's a cool mic.

What do you think of it on a guitar cab, if I may ask, Mr. Geoff?

The i5 is damn nifty. I could totally do a fleet of them for my toms. In Enveno Conner and I both had them, which we used live because they reject feedback better and are higher output. On the guitar... hmm, it is okay. Brighter, more even in the mids. I still gravitate towards the 57 for that use.

I've changed up the kick sound, removed one of the pillows. It was uber stuffed because I usually practice with triggers, getting my feet tight enough for the Yamaha to accept what it's receiving (it ignores hits that aren't evenly dispersed). It was laze that left them in, and the kick is definitely sounding better miced with just one pillow.

Mister Snaxie... the song I PMed you about, that is the first thing I am intending to record.

Were you using 'em as vocal mics? I used to use Audix OM-2s for that purpose for those very reasons. We switched to Beta 58s though; the OM-2s were a little too tight pattern-wise, especially considering how hard we gate the things. (A necessity when there's five vocal mics onstage!)

There's something about the character of a 57 that just plain works on a high gain guitar tone. Sits nice in a mix. I've been thinking about going back to 'em for recording Mr. Chris's rig in Garda- his tone with the Herbert is generally darker, smoother and higher gain than my amp-in-agony + scuzz box tones. 57 I think would play nicer with that sort of thing versus the condenser/ribbon combo, which I think smooths it out too much.

If the kick itself is halfway decent with good heads and tuned up, less muffling is better.

How br00tzy do you want to go with that song, anyhoo?

Yus, the i5s I spoke of were our live vocal mics. They were the receiving units for our grimy gurglenoise.

The kick itself... no, not that great. It's a starter kit made of mystery wood. I'd rather have a nice maple kit... it really does make a difference. Good heads though... the Powerstroke III is still relatively new since it doesn't wear much when it normally has two pillows to share the burden. But still, less muffling is better if I'm not trying to get my Yamaha to trigger accurately.

For the level of br00tz I was originally envisioning this level of rolling heavy grooviness:

But it is likely only going to be that heavy for bits of the song, as it's going to ease up during the verses and stuff. You know... dynamics...