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Hello! I thought this would be kinda cool: Let's share recordings that we like, that we KNOW only used a handful of mics. List the instruments, mics, and setup. Then talk about what you like about the sound, and then what you don't like. Your personal recordings would be awesome. If you have the scoop on ANY recordings that utilize a handful of mics, well, lets learn I'm going to start by throwing these recordings up; in them, you will hear a 5 piece drum kit, electric guitar, and voice. http://heatpeanuts.bandcamp.com/album/j ... sh-johnsonthese were recorded with the omni-directional, internal mic of a Fostex MR8 MK-II. The until was positioned on the floor of the room. The diaphragm might have been 3 to 8 inches away from the shell of the kick drum. The guitar amp was at a right angle to the kick drum, facing inwards, towards the mic. The amp might have been 8 or 15 inches away from the mic, if not closer. It was a 1985/86 fender twin reverb II. le guitar was a 2009 ric 330. (nerdgasm) The room was a loft in a tiny, 2 bedroom house. It was open on one end.. there were stairs that transported you into the rest of the house. The room was too small to stand up in. Probably 5 and a half feet tall. It might have been 20 feet long by 6 feet wide. Both of the walls were angled, they formed an A shape with the ceiling. The walls were untreated, but the floor was carpeted. If you can picture this big, 5 piece Pearl kit with rack mounted toms and cymbals only clearing inward sloping walls by a 8 or so, and clothes strewn about, and boxes of random cables and whatnot, with a 6' 6 tall dude on his knees yelling into this fostex, that would help. Me gusta: The kick drum has a great amount of thump to it. The toms sound pretty clear and meaty, and the china sounds really china-like. The guitar came out really clean, too. The reverb on the amp provides a wonderful sense of space. When the voice comes in, it sounds very dead, and strangely clear. The MONO -ness of the whole thing lends a kinda psychedelic sound... everything is flying out of the phantom center.... No me gusta: The whole thing sounds kinda flat. Sort of like it's made of paper. Spacial cues from the drums, like panning on the toms or cymbal, is missed. When I close my eyes and visualize the performance, I get the sense that everything is on top of everything else. Finally, the snare. At times, I feel like I can hear flutter echo, (which is cool) but at other times, the snare gets squished out by everything else. and then it's just a little cscshh. It would be so awesome to hear mics and bands and things. I hope to participate and listen to many recordings. It's easy to get overwhelmed with mic choices... let's hear what's out there! : D

Nice one man,on this case,I used a blueberry condenser mic as a room mic, Mic'ed up with sm57s on top and bottom of snare,md 421 on tomsa pair of sterling audio over head micsbeta 52A inside the kick shelland a classic D112 Outside the kickit all teamed up to sound like this: http://www.mediafire.com/?27263295h31r79ntell me what you guys think.(I mostly used the blueberry for vocals and guitars, for electric guitars md421 and sm57 through avalon channel strip and blue robbie pre)

very cool, can you talk about any mixing /or mastering (if any) that went into this? I like how sparkl-y the acoustic sounds : ) thanks for sharing.

Not sure if this thread is silly or not, but I finally got to bounce out this session that I've been meaning to share here : Kick: Neumann m147Snare: Neumann km184OverHead: Royer 122vRoom Left: Earthworks qct50Room Right: Earthwrks qtc50Bass: Electrovoice re20Keys: mono DICongas: AKG c414Guitars: A Stereo Royer mic, the sf24http://soundcloud.com/tparkeraudio/sets ... id-at-ilisAnyways I'm pretty happy with this sound! These are the sounds that we had recorded a few months ago. I took out a couple of db from the keys, and the overhead, around 4 or 500. Also the guitars have a high pass filter that starts around 300 hz... that's basically it. I can't remember what eq or compression I might have been doing going in. It was probably a lot of eq, though (?) In an effort to impress a future client, I tried taking off 4 or 6db with the SSL bus compressor on our duality in an attempt to loud-ify it. I'm sure if it made it sound weird, thoughts?I'd so so appreciate anybody's feedback. I'm really new to this and I'd hate to be unaware of any weirdness I'm only a student and I'm trying to become awesome at this.

A really bad example, but a recent ultra-low track count ultra-low resource recording. It was a live gig in a pub where I split the feed from the mixer between the PA and a laptop using the "post fader" auxs for my laptop send. All this with me behind the band. I had two 57's, 2 C1000's, and a pair of DI's between Drums, Sax, 2 guitars and a bass. No kick mic, no snare mic - the kit consisted of bits we stuck together and a floor tom with 2 legs and a cardboard box under it Drums - C1000's for Oh's (Spaced pair, mostly put them where they wouldn't fall overElectric - SM 57Sax - SM 57 (Same guy as electric, different 57)Bass - DIAcoustic - DIDoes it sound mindblowing? No, it sounds like they're in a pub. You can hear me make fades, adjust mics, EQs, levels and the noise from the USB codec (Incidentaly, I don't recommend the Zed 10). But I kinda like the whole thing, it has a feel. Maybe that's just because I had fun, though!http://soundcloud.com/ergot-fire/toying ... -the-great

I'm gonna be brave and post an uber-low budget live recording I did for a freind.http://soundcloud.com/ergot-fire/toying ... -the-greatDrums: 2x C1000'sAcoustic Guitar: DIBass: DIElectric Guitar: Sm57Sax: SM57So I was doing FOH off a Zen 10 mixer (not mine) and sending it's noisey as a bounced down stereo USB output to a laptop via the Auxs, which leads to a hilarious lag in ques as my FOH mix changes before the USB mix as I swap references.So I was clever and panned things, only to find out the USB codec was mono summing everything. What an asshole. No individual track control post-recording, so I compressed it to high hell to clear up that snare. Pros: I like the drum sound, live to stereo is hilariously fun, the band are clearly performing.Cons: The intro to the sax solo is hilarious, you can hear me slowly fading it up at the end of the phrase and then I crank it during the gap! Live to stereo with no seperation is hilariously difficult, especialy when it's live to mono, all my EQ for the PA was also applied to my mix.Noise. Noise profile capturing wasn't a sufficent correction as the damn things noise profile kept changing, so I had to use a noise reduction plugin. It fucked with the sound, alot.

I am getting this weird synaesthetic response from the recording... I can see Jabba's palace from Star Wars... it's weird. Only, the whole thing is grayed out and there are no arches.... only right angled walls.. haha. I think it gets better over time... It starts out pretty gnarly but then by the end of the file it sounds pretty good. Great job! So, let me get this straight: The zed10 gives you a mono usb output? And that output is sourced from the aux sends on the board?

Gahah, if you'd seen the place. It was a Psytrance night there too so it was all weird floating lycra objects, lasers, Day Glo colours, hippies and suchwutnotsense.I could have gone stereo but panning would have affected my FOH mix so I kept it 50's. There are a number of sources the ZED 10 can use including the Main Outs, but since I wanted mix independance using the Aux's made the most sense.

well thank you for sharing that.. I'm thinking of what I will share with you. I'm going to dig through my stuff to see if I can find any more fostex recordings, or maybe some recordings of my friend, Nico. Anyway, Cheers !