So, FINALLY - no thanks to pressing plant delays - this album finally released tonight.You can hear the fruits of my labour, and your collective sound advice here:https://secretblackboyfriend.bandcamp.com/album/this-is-what-happens-when-everyone-wins-a-trophyThe vinyl is super cheap ( 5 in the UK), you can order worldwide from the bandcamp, or, wait a week or so and get it from the PRF distro as jonsolomon has agreed to take a few in.Thank you all again, I'm certain it would have sounded nowhere near as good without me picking your brains at length.

garthplinko wrote:not crapThe only PRF review needed. Thank you

garthplinko wrote:not crapDitto.Factoring in that there wasn't a song about that scamp Liam, I thought it went pretty well.

this is wonderful

I don't know if it's the sort of sound you're after and I fully admit to being a total novice at recording but I always use the Recorderman 3-mic technique on drums (out of necessity) and when the band is all playing in the same (small) room I put the bass amp in line with the kick drum and pretty close to it with the speaker facing away from the kick and then if there are 2 guitars I try and position them evenly from the snare in terms of distance and try and match the volumes. If there's one guitar (and it's staying that way - i.e. no overdubs) I put it in line with the kick and much further away than the bass amp. Again, I'm fucking clueless with this stuff but the spill into the drum mics that this sort of layout makes just seems to give everything a really pleasing natural, balanced ambience and the kick mic picking up the bass as well seems to glue everything together perfectly.

Wahey! It's come to that time again where I'm about to do the same thing all over again - but different.I've learnt a lot in the last 12 months, and bought a LOT of gear, and our LP#3 is just about ready to track for a release early next year. Now, I'm fond of a list so here goes...1. KICK (inside) - Beyer M3802. SNARE - Beyer M2013. Hi Tom (top) - Oktava MK0124. Lo Tom (bottom) - AKG D1125. OH Left - sE4400 LDC6. OH Right - sE4400 LDC7. FOK (mid) - Avantone CK40 (stereo LDC) bottom capsule8. FOK (side) - Avantone CK40 (stereo LDC) top capsule, 90deg, set to Fig-89. GTR #1 - Pro3710. GTR#1 - sE VR1 ribbon11. GTR#2 - Pro3712. GTR#2 - RCA 74b13. GTR room - sE X1 LDC14. Bass - Pro3715. Bass - Heil PR4016. Bass - DIThe general plan is:Drums - a 'supplemented' Glyn Johns method with bonus mics on the toms in case I need to make them stand out a bit on the louder songs, plus the CK40 mic has the extra, rotatable, capsule on top so I might as well pipe that in as an optional room mic. The drum sound is going to be relatively dry and 'close' sounding, with a tight panning structure. I'd like to not use more than the 4 Glyns mics if possible in mixdown but the extras are there as a backup. Going to keep the 2 overheads in low/close for minimal room sound. Guitars - I'm going to use a 2 amp setup (OR120 & TS-50B) to leave space in the center of the mix. Doing the same bright+dark mic thing I used last time. Sounded good, no need to mess with it. Will throw the LDC up somewhere it sounds good for the room micBass - Bright+dark thing again, plus a bonus DI now I've gained a few channels cutting down the drum channels. That'll get the usual treatment, DI only really as a backup.Vocals, I'll pick on the day but I'll probably throw up one of the LDC's for detail, the 74b for warmth and the M201 as a bonus option.The songs we've written for this record have a much more 'claustrophobic' feel, and a lot quieter, than our previous stuff so the plan is to keep things generally dry and mixed to feel like the listener has the music going on in their head. Everything will be tracked live bar the vocals, and we'll be in the same room as each other.If you have any tips on the Glyn Johns method you've found to make things work well, let it be known, I've not tried this way before but I like the sound of it...I definitely want a more natural and cohesive sound to the drums this time rather than them be MASSIVE and thumping.

honeyisfunny wrote:I don't know if it's the sort of sound you're after and I fully admit to being a total novice at recording but I always use the Recorderman 3-mic technique on drums (out of necessity) and when the band is all playing in the same (small) room I put the bass amp in line with the kick drum and pretty close to it with the speaker facing away from the kick and then if there are 2 guitars I try and position them evenly from the snare in terms of distance and try and match the volumes. If there's one guitar (and it's staying that way - i.e. no overdubs) I put it in line with the kick and much further away than the bass amp. Again, I'm fucking clueless with this stuff but the spill into the drum mics that this sort of layout makes just seems to give everything a really pleasing natural, balanced ambience and the kick mic picking up the bass as well seems to glue everything together perfectly.Yeah, I learnt to embrace (and like) a little bleed. I always seem to track us, or other bands, in one big room. We will be using some gobos/dividers as well as careful positioning

I'm actually starting the recording our album in a month or so..3 weekend sessions, band tracks live in 1 room. But this time I have gobos and an extra pair of channels (plus access to some mics from the University I now study/work in) so I'm thinking.1. Kick - Opus 99 or RE202. Snare - M2013. Snare btm - SM57 or some SDC4. Tom - Uher M5385. Tom - Uher M5386. Floor - Uher M5387. OHL - KM1848. OHR - KM1849. Drum Room M - U8710. Drum Room S - Oktava MK22011. Guitar L1 - RM700 Ribbon12. Guitar L2 - Oktava MK01213. Guitar R1 - RM700 Ribbon14. Guitar R2 - Oktava MK01215. Bass Cab - T. Bone SCT80016. Bass DI 17. Guitar Room L - Behringer ECM8000 (setup as boundry mics as I said in the other thread)18. Guitar Room R - Behringer ECM8000The amps will be partially baffled off from the drums and it's a big room, so the Room mics will just be either side and sort of lean "More" guitar or more drums, but it'll be a case of balance and some volume management.

Stinky Pete wrote:I'm actually starting the recording our album in a month or so..3 weekend sessions, band tracks live in 1 room. But this time I have gobos and an extra pair of channels (plus access to some mics from the University I now study/work in) so I'm thinking.1. Kick - Opus 99 or RE202. Snare - M2013. Snare btm - SM57 or some SDC4. Tom - Uher M5385. Tom - Uher M5386. Floor - Uher M5387. OHL - KM1848. OHR - KM1849. Drum Room M - U8710. Drum Room S - Oktava MK22011. Guitar L1 - RM700 Ribbon12. Guitar L2 - Oktava MK01213. Guitar R1 - RM700 Ribbon14. Guitar R2 - Oktava MK01215. Bass Cab - T. Bone SCT80016. Bass DI 17. Guitar Room L - Behringer ECM8000 (setup as boundry mics as I said in the other thread)18. Guitar Room R - Behringer ECM8000The amps will be partially baffled off from the drums and it's a big room, so the Room mics will just be either side and sort of lean "More" guitar or more drums, but it'll be a case of balance and some volume management.Good list. I'd be interested in how well the Behringer mics do set up like that as I'd considered grabbing a pair for a cheap experiment. Are you going for 'warm' sounding guitars? The blend of ribbon with the Oktavas will definitely be that. I found them too dark on my guitar when I used them with a ribbon, thus I gravitated to the Pro37's instead to get back the 'bite'