Stinky Pete wrote:JohnnySomersett wrote: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'I can dropbox you some session files if you'd like to hear them in action, alternatively the intro of this EP I did for some friends starts with just the ECM8000's in, and the overheads, the centre room mic and the spot mics are dropped in when the guitars start: https://casavettesmusic.bandcamp.com/ there's a lot of the "room" on the last track too. All the guitar reverb is from the room mics.I actually want a brighter more articulate guitar sound, so thanks for the heads up! I might stick with my ribbons as overheads then and use the KM184's on the guitars with something else. I have SM57's, could probably more some MD421's or something? Any recommendations?I would definitely like to hear just the ECM8000's on their own if thats possible? As for the MK012's, they're not massively dark, but they definitely have a warmer sound than I like on a guitar. That's why I use them as tom mics, and I swapped them in as drum overheads recently on some overly bright cymbals. I really really rate the AT Pro37's, they have an almost brittle toppyness to them that you can blend in to get the bite. And they're cheap. But, any standard SDC would probably work, and the Oktavas might still be fine. Worth a quick shootout beforehand?I could give you a quick example if you like? Wouldnt take long.*EDIT: In fact, here you go:https://www.dropbox.com/sh/dyuo85zk7bcr ... ki0ja?dl=0I did both alongside an RCA 74b ribbon (quite dark). I've labelled them A & B accordingly so pop "A - Pro37" and "A - RCA" together and "B - MK012" and "B - RCA" together in your DAW.I just recorded through my little Focusrite 2i2, gain matched (RCA had a fethead in-line) and recorded. All are just raw files. I had to do each pair as a separate take as that little interface only has 2 inputs but it's roughly the same improvised chord and picking line.Jazzmaster > TS-50B > SVT15Mics about 8" from centre of cone, capsules aligned (obviously)

JohnnySomersett wrote: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'I can dropbox you some session files if you'd like to hear them in action, alternatively the intro of this EP I did for some friends starts with just the ECM8000's in, and the overheads, the centre room mic and the spot mics are dropped in when the guitars start: https://casavettesmusic.bandcamp.com/ there's a lot of the "room" on the last track too. All the guitar reverb is from the room mics.I actually want a brighter more articulate guitar sound, so thanks for the heads up! I might stick with my ribbons as overheads then and use the KM184's on the guitars with something else. I have SM57's, could probably more some MD421's or something? Any recommendations?

Stinky Pete wrote:Hey! Sorry for the long turnaround on my reply, I was busy this last while getting set up for my Master's and I had a recording session..and a gig..and other life stuff.Anyway, those room mics are here: https://www.dropbox.com/s/g8ut7pdjrxkne ... s.rar?dl=0So the stereo set are the ECM8000's, they're very wide so I included the mono room mic for a bit of context. The top head of the drummer's snare was very muted, so you can hear a lot of the bottom of the snare. I also did the same for the vocals, which sounded great. Thanks for the clips! Surprised how bright the RCA is, sounds great - the bottom extension is fantastic. I like the M201 and the PRO37 actually. I'd probably be going for something a little more dramatically different - but as it stands, I'd definitely be happy with just the RCA for a guitar tone!I'll have a listen to those later, currently stuck on my back on painkillers thanks to an accident at work! Little tip, don't let 300kg boilers fall onto you! Weirdly, the RCA isn't normally that bright! I tracked a band the other weekend and the difference between that mic and the pro37 was massive... On those little samples it wasn't so pronounced. The speaker they were in front of does tail off quite steeply at around 5khz so maybe that made them sound more similar as there wasn't much more above for the condenser to grab over the ribbon. The 74b does have a slightly bitey top end anyway. I love them. Although, I just sold one of my pair to fund something else - already regret it

Hey! Sorry for the long turnaround on my reply, I was busy this last while getting set up for my Master's and I had a recording session..and a gig..and other life stuff.Anyway, those room mics are here: https://www.dropbox.com/s/g8ut7pdjrxkne ... s.rar?dl=0So the stereo set are the ECM8000's, they're very wide so I included the mono room mic for a bit of context. The top head of the drummer's snare was very muted, so you can hear a lot of the bottom of the snare. I also did the same for the vocals, which sounded great. Thanks for the clips! Surprised how bright the RCA is, sounds great - the bottom extension is fantastic. I like the M201 and the PRO37 actually. I'd probably be going for something a little more dramatically different - but as it stands, I'd definitely be happy with just the RCA for a guitar tone!

Stinky Pete wrote:Ouch! Speedy recovery, man. Yeah I thought the top end was similar, must be the speaker rolloff! Though I'm equally surprised at the proximity effect. In my experiences with ribbons it's often very dramatic - the proximity effect on a mic like the Coles is just ridiculous.Oh yeah man, the proximity on the RCA is delicious... Go in close with vocals and you sound like a god!

Ouch! Speedy recovery, man. Yeah I thought the top end was similar, must be the speaker rolloff! Though I'm equally surprised at the proximity effect. In my experiences with ribbons it's often very dramatic - the proximity effect on a mic like the Coles is just ridiculous.

Pleased to advise that I didn't fuck it up. Going off for mastering in a couple of days. Will share when done.

JohnnySomersett wrote:Pleased to advise that I didn't fuck it up. Going off for mastering in a couple of days. Will share when done.Forgot to reply to this, congrats! My own session was 90% not fucked up. The room mics aren't great, but the songs for this batch are the 'dry' ones - I wasn't going for a ton of ambiance as the songs are pretty fast and bass heavy. Anyway long story short I recorded only one side of my M/S rig as I'm a moron. That said, it's sounding pretty good. Fucking loved the KM184's on the guitars, a little LF shelving and a hipass and the track was sounding great. 1/3rd of the album done. Channel list was:1. Kick - Opus 99 (Just inside hole on reso)2. Snare Top - M2013. Snare Bttm - Oktava M2014. Rack Tom - Uher m5385. Floor Tom - Uher m5386. ----7. OH L8. OH R - T. Bone RM700 ribbons[Opted for a spaced pair about 1M above the snare]9. Room L10. Room R - Behringer ECM8000 [Boundary mics in AB]11. Room M - T. Bone SCT80012. Room S - Oktava MK22013. Guitar L - KM18414. Guitar R - KM18415. Bass Cab - Uher m53816. Bass DII'll post a rough mix tomorrow

Stinky Pete wrote:JohnnySomersett wrote:Pleased to advise that I didn't fuck it up. Going off for mastering in a couple of days. Will share when done.Forgot to reply to this, congrats! My own session was 90% not fucked up. The room mics aren't great, but the songs for this batch are the 'dry' ones - I wasn't going for a ton of ambiance as the songs are pretty fast and bass heavy. Anyway long story short I recorded only one side of my M/S rig as I'm a moron. That said, it's sounding pretty good. Fucking loved the KM184's on the guitars, a little LF shelving and a hipass and the track was sounding great. 1/3rd of the album done. Channel list was:1. Kick - Opus 99 (Just inside hole on reso)2. Snare Top - M2013. Snare Bttm - Oktava M2014. Rack Tom - Uher m5385. Floor Tom - Uher m5386. ----7. OH L8. OH R - T. Bone RM700 ribbons[Opted for a spaced pair about 1M above the snare]9. Room L10. Room R - Behringer ECM8000 [Boundary mics in AB]11. Room M - T. Bone SCT80012. Room S - Oktava MK22013. Guitar L - KM18414. Guitar R - KM18415. Bass Cab - Uher m53816. Bass DII'll post a rough mix tomorrowExcellent! Look forward to hearing some I actually changed a lot of the previous plan before we did it and went with:1. KICK - Beyer M380 (right inside, dead center) 2. SNARE - Beyer M2013. Hi Tom (top) - Oktava MK0124. Lo Tom (top) - Oktavas MK0125. OH top - sE4400 LDC (Glyn Johns) 6. OH Right - sE4400 LDC (Glyn Johns)7. FOK - sE2200 LDC8. ROOM - a ribbon that I can't remember right now. 9. GTR #1 - Pro3710. GTR#1 - sE VR1 ribbon11. GTR#2 - Pro3712. GTR#2 - RCA 74b13. 14. Bass - Pro3715. Bass - Heil PR4016. The room we recorded in was smaller than usual, maybe 20-25' square, so there was a nice amount of bleed everywhere so I didn't need lots of room mics. I borrowed a Deluxe Reverb and ran that alongside my Orange for some contrasting sound and it came out real nice. I only ended up using the PR40 bass track on the mix as it was so damn good. It's off at the vinyl plant as we speak, after being mastered by Carl Saff. We have 1 track up so far as a pre-release:https://secretblackboyfriend.bandcamp.com/album/an-altar-of-nothing-erected-for-no-one

JohnnySomersett wrote:Excellent! Look forward to hearing some I actually changed a lot of the previous plan before we did it and went with:1. KICK - Beyer M380 (right inside, dead center) 2. SNARE - Beyer M2013. Hi Tom (top) - Oktava MK0124. Lo Tom (top) - Oktavas MK0125. OH top - sE4400 LDC (Glyn Johns) 6. OH Right - sE4400 LDC (Glyn Johns)7. FOK - sE2200 LDC8. ROOM - a ribbon that I can't remember right now. 9. GTR #1 - Pro3710. GTR#1 - sE VR1 ribbon11. GTR#2 - Pro3712. GTR#2 - RCA 74b13. 14. Bass - Pro3715. Bass - Heil PR4016. The room we recorded in was smaller than usual, maybe 20-25' square, so there was a nice amount of bleed everywhere so I didn't need lots of room mics. I borrowed a Deluxe Reverb and ran that alongside my Orange for some contrasting sound and it came out real nice. I only ended up using the PR40 bass track on the mix as it was so damn good. It's off at the vinyl plant as we speak, after being mastered by Carl Saff. We have 1 track up so far as a pre-release:https://secretblackboyfriend.bandcamp.com/album/an-altar-of-nothing-erected-for-no-oneAwesome! I'd love a Beyer M380, but it's a shoestring budget here. Hoping next year to upgrade from my ECM8000's to a pair of MK012's in omni. Running 2 amps is always fun - was it the same signal split or did you double track? EDIT[Need to stop doing that]: Sounds cool! Very punchy and almost mono, till the end! What did you use for the vocal?Anyway, accidentally put this in another thread: Sorry, forgot to post the rough mix. Probably not far off the album version, will probably DT the guitars (the lead on the right esp.). Here yiz go: https://www.dropbox.com/s/vt36tcey60x3f ... 1.mp3?dl=0Vocals were through my Art MPAii, SCT800 up close and overdriving the tube stage and an Oktava MK220 back further in the room. No reverbs used outside of room ambience, but there's some slap on the room mic.