They were a foot and half behind the throne maybe only 5' off the ground, pointed decently wide. Not a huge stereo spread, but I was trying to get a lot of the actual drums and less reflections.

https://soundcloud.com/cameron-heck/d11 ... -drum-test

Fairly interesting, this one here.

I am thinking, this room is made of magic. No processing.

https://soundcloud.com/cameron-heck/m-s ... uitar-test

It is a little.. Skronky, but the potential is obviously there. Might actually work really well like this in a mix though. This is the Frankenstang, btw. Broke the D string on the Tele earlier.

Definitely a good sound. As in the SLF song, i would pretty much use it just like that, all teef and vi-lence.

This guitar is good for that nasty crunchiness like in the SLF song, for sure. Perfect for this kind of riffage in this song, too.

That's the good sort of skronky. That would totally work in the right context. I'm surprised how thick it sounds even with the skronk- probably the Hot Ribbon Action. Mighty fine.

And yes. You are correct on the room.

My brain tells me I prefer the D112, but it's such a familiar sound in this context. The PR40 is a much "harder" sound and I keep going back to the double-kick bits and trying to decide if it'd prefer it for those because of that maybe?

D112 definitely nicer for my tastes. PR40 sounds mushier and middier/boxier to my earz. In a mix, i would always go for the crispier/boomier/mid-cuttier kick.

ier.

I didn't mention it myself, but I prefer the D112. It cuts out the hardness you were talking about, a lot less beater smack and more of a DOOMTHUD! Kinda makes me inclined to think that I would prefer the PR40 on bass, as I like bass With-uh Teeth-uh.

The more I listen to recordings of myself singing, I sure do slur my words a lot. I mean, I know I do when talking regularly anyways, but some it is kinda funny/silly.

And the skronky yet thickness is indeed dat ribbon action. Iso'd there's a bunch of skronk in the KSM, and lots of big roomy fatness in those room mics. They were approximately 3 feet in front of the cab, BTW. I am thinking when I live track this shit, I am going to have M/S room mice running for most everything. With this extra ribbon, a large weight has been lifted in terms of me rationalizing mic choices. Totally frees up the M179 to be a unidirectional mic for close mic'ing if I so wish to.

EDIT: Let it be known, I am going to refer to multiple mics from now on as "mice".

I just read something on Gearslutz earlier where a guy mentioned the PR40 is his go-to mic on bass cab. It sounds like it would work well for that application. Hearing them as an overhead pair makes me wonder if a single one might not be a terrible idea on snare. Can't really go wrong- I think- with the D112 on kick. It has its haters, but to me it's something that's shaped my idea of what a kick mic- and a kick drum, really- should sound like. I've always gotten on with them.

BELT delivered you a free ribbon as some kind of cosmic apology for whatever demons/gremlins/etc. were fucking with your gear. And that would give you a lot of options for how much room you want- and how big you want the room to be. M/S is cool for the level of control it gives.

Mice totally works. We have our own language going on here anyhow. (On the subject of actual mice, I've decided the past tense of "squeak" is "squoke", because I say it is.)

https://soundcloud.com/cameron-heck/unt ... dolin-song

I am digging my new mandolin.

Ha! I am actually digging this. I love the hard-panned drums in the beginning and the distorted vocals- and how it seems to distort harder on the sung notes- well done, that. The mandolin works well here.

How'd you record the mandolin?

Sounds more than a bit like you have been listening to a whole bunch of Animal Collective.

I dig them though, so i do dig this aswell. It has a solid loose-but-just-short-of-clusterfuck vibe to it. Chaos that keeps it together and doesn't overstay its welcome and embarrassingly piss on the couch or anything.

Thanks, man. I am pretty proud of it, the nonsync'dness in pitch and rhythm of the vocals kind of bothered me at first, but I am just not giving fucks anymore.

Most everything is KSM27, two takes for mandolin and guitar. Two different distances for the mando, like 6" and the other a foot or more. One take mic'ing the body and the other the neck for the geetars. Drums are KSM27 getting smashed with D112 on kick and the everpresent MK-012 on snare when the full drum parts come in at the end.

To Chris: Honestly, I have never listened to this kind of folkpunk in my spare time (though I am aware of it's existence) but the mandolin just kinda ripped this out of me. Was the first thing I wrote when I put my hands on the thing, that main bit. I've been developing it over the past couple days and made up but the first two lines whilst recording it. I really like how off the cuff it is in nature, with the ghettoness all about it.

The Animal Collective you are talking about those of "We have videos on Youtube" fame? This is like, trippy electronic music.

They have a couple diffr'nt flavors, but one of them is a sloppy beachboys-meets-chaos pop-sort-of:



Actually, this whole rekkid Feels, is one i like a bit:



If any of it sounds interesting to you, Strawberry Jam is also a good one(but a bit more electronic/looper than Feels).

This is pretty dope, brometheus. I will have to get this one and see how their whole schtick sits with me.

You may not diggit at all, because you may be coming to the sounds that i perceive, from a different sort of angle, but i like what they do with just slamming shit together until pop songs emerge. Especially on these two recoards.

Re: Animal Collective, I have never actually listened to them, I think ever, though I've been familiar with the name for years and years.

Re: KSM27s- you still digging those? I always found mine- yours now- to be a fabulous all-arounder. Intarwebs hearsay is that it's quite similar to its bigger (and much more expensive) brother, the KSM44, but it fixed cardioid vs. switchable patterns, with the in-between-cost KSM32 having a different voicing. ie. a lot of mic for not a lot of coin. Did you ever get the M179 straightened out, by the by?

I assume yer just driving the hell out of yer rack preamp for distortion on the vocals? I've always found it best to sing into the dirt if you know that's what you want 'cause you can work the mic that way and know what you're getting. (I generally like to record my effects if possible- I don't for a second buy into the record bone-dry everything "modern" approach. I'll at least try and track with things on even if I don't print* the effect, like vocal reverb and delay I'll want to tweak in the mix, and write the settings down so I have a starting point based on what I'm hearing.)

Also, re: giving fucks- too many unnecessary fucks given makes for too many unnecessarily bad records. Put on Back In Black or Appetite For Destruction or Powerslave and those still sound good, because of a general lack of unnecessary fucks. You can marry the production to the material and do something brilliant- say, The Cure, Disintegration, or you can build a record around the production- tons of cool people from The Beatles to NIN, etc. did this and made amazing stuff that holds up years- decades- later. Giving unnecessary fucks just dates the thing to the time said fucks were mainstream-hip. My style(s), for example, require a certain level and type of fucks given, but I've been praised at the same time for organic sounds in contexts you don't usually hear them. Real stuff in a real room played by real people holds up, period. In its way it is perhaps the most conservative- reactionary- of production approaches but oddly, perhaps, is often embraced by people who make forward-thinking music. If the material isn't mated to the production- as is often the case in heavily electronic genres almost by necessity- having it STFU/GTFO is often the best option. My metal collaborator and I were talking about this re: Black Light Burns- and Future Of The Left, Tomahawk, the last Swans record... These fucked-up sounding bands have these un-fucked-with sounding recordings. Because what else are you going to do that these guys (and girls) aren't already throwing down? But I'm ranting as usual.

*- record. Engineer slang. "Print to tape". To not print the effect would mean having, say, the vocal reverb in the vocalist's monitors/'phones, but it is not actually recorded on the track.