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I'm hoping this will minimize or negate bleed in the drum mics. I'll.either place this amp setup in the middle of the room. Then Place two folding chairs (facing eachother) by the wall opposite the drums, then placing the amp on one chair and use the other to hold up the blanket I plan on placing over the amp (for isolation). Planned on renting/buying heavy moving blankets from UHAUL and putting one on the wall by the high hat and then draping another on the other side and maybe even infront of the kit as well. Ok, so here are a couple more questions in reaponse to all the great replies above.Īs far as isolating the guitar amp, does the method I mentioned seem like it won't isolate the aml enough? Just as a refresher, I planned on placing the drums at one end of the room (length wise), either close in the corner or facing straight ahead with the hihat side by the wall. You would also be banking on the room sounding somewhat decent too. It isn't really a general punk aesthetic, but neither is the Glynn Johns drum mic technique. You would essentially be using the drum mics for a secondary purpose of being the guitar amplifier's room microphone. Once your guitar amp is in position and your drums sound great without any adverse effect from the guitar amp, then place your close mic on the guitar amplifier. The idea is to get a nice ambient guitar sound that doesn't mess with your drums, so you will have to fiddle with amp position, amp volume and perhaps even some baffling. Then position your guitar amp and so that it sounds nice through those same drum mics.
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Setup your drums and drum mics, and get them all sounding great. One option I would consider is to use the bleed to your advantage. Pro-MB can help get your drum hits up above the background ambience by setting it to expander, but it is still a band-aid treatment. On overheads you will struggle to maintain the tails of cymbals, etc as you try and chop out other ambient noise. Pro-G and gates really only work well with sound sources that have really defined transients - for example, close miked drums. Wilkinson DeBleeder, JST Tominator, and Accusonus Drumatom are all bleed-removal plugins specifically tailored for drums, and they're all great.įabfilter Pro-G won't really do what you want it to do without destroying your drum sounds. In the worst-case scenario, the close mics might not produce anything useable for the mix, but you'll be able to use them to trigger samples, which, in my opinion, is still a net gain.Īs far as removing bleed goes, Pro-G is possibly the best gate plugin I've ever used. $10) dynamic mics for the kick, snare, toms, and hi-hat, and save your better mics for the overheads and rooms. I know you said you have a limited mic selection, but provided your I/O can accommodate a multi-miked kit, you can find some dirt cheap (i.e.
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Recording a guitar DI would require tracking through an amp sim, as well as giving everyone a separate headphone mix.Ĭlose-miking, on the other hand, would offer you more flexibility.
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Overdubbing would probably be the most cost effective solution, but it may not be an option if your friends are vehemently opposed to it. Minimal drum miking + instrument bleed + less-than-stellar room + live tracking = setting yourself up for lots of trouble. In this scenario, I would either close-mic the entire kit, overdub guitars/bass/vocals, or do as suggested above and record the guitar DI.