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My New Studio Build (perhaps overly detailed)
- Thread starter silky smoove
- Start date
If you need to you can also go AVB, I just got a Presouns 32r (more for live use for our IEM mix), but I can connect it to the 16a with Cat5. (I will need to get the AVB bridge if and when I replace my AXE i/O with another MOTU)
I just found that ADAT was a bit of a pain in the ass, nothing too major but I would have to reconnect sometimes cable would come disconnected etc. I am curious to check if ADAT adds any latency if I sum out to different I/O's on the network when I mix down.
What are you going to use for your NEVE 1073 clones? I have been really happy with Golden Ages Projects gear, Warm has been a s*it show for me just unlucky I guess I had to get there 414 mic and there WA12 500 pre repaired (I baby me gear) Except for when I plugged the power adapter for my GAP pre into my old and now broken and fried Presouns 192
- Apr 20, 2009
- 2,620
- 4,666
- Disclosures
- Endorsements: your name could be here, Mr. Sadowsky!
Why buy a new car when you could start another awesome thread How to Build Your Own Car in Just 400 Easy Steps
Whoa... Methinks another building project won’t be in my future for a long long time.
Yeah, I haven’t dug into the AVB side of things yet simply because I know ADAT well and it’s ways worked for me. AVB is certainly another option though.
Likely four GAP Pre 73 JR units on the rack tray they make.
I’m too old to get another car, bought one last year. But electric vehicle would be nice if I did.
I need a truck. I’ve been driving a Mazda 3 hatchback since 2007, and while it’s great I frequently find myself needing a small’ish truck to get various projects done around the house. A Chevrolet Colorado is the current front runner, but speaking of electric vehicles, I would LOVE to check out a Rivian once they’re released. $80K (and up) price tag notwithstanding
I have an Chevy Equinox. Given the size, there isn’t as much carrying capacity as one would think. The Chevy trucks are built well, thicker sheet metal. When I was looking, I found that prices were better out in the country. More inventory, they seem to sell more out there.
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Here’s the video I promised last week. I disregarded everyone’s suggestions and did one giant four plus hour upload and added chapter markers. Mostly because I hate video editing and I wasn’t going to work on this for a second longer 
Hopefully there’s useful information in here for someone:
Hopefully there’s useful information in here for someone:
Rant warning....
After several days of testing multiple overhead arrangements on drums for an upcoming tracking session on Saturday, I've decided that I hate Recorderman. Maybe in a bad sounding room it would be the way to go, but it's omitting all of the great room sound I've built into this space. Way too dry, way too boring and thoroughly unnatural sounding.
On top of that, almost every video of it on YouTube is doing it incorrectly. I've only seen one video where the person did the trigonometry correctly to locate the over-the-shoulder mic equidistant from the kick and snare when compared to the over-the-snare mic. Most end up with their string line (usually an XLR cable) drooping significantly from the leg that goes to the kick when measuring over the shoulder and they'll say things like "this side is a little off, but that's fine." No, it isn't. The whole point of Recorderman is to center the kick and snare in the overheads, and allowing the kick to be closer to the shoulder mic than the snare mic will skew the image. Here's a great site (not mine) that describes the trigonometry involved in finding the correct placement for the shoulder mic in a Recorderman setup: You're probably miking drums wrong, and how to fix it
Last night I ordered a Shure A27M stereo bar for nailing an XY arrangement more easily than using two mic stands, and I also ordered a Cascade X15 to try a Blumlein setup. My only stereo matched mics with a figure-8 polar pattern are too heavy to reliably try as Blumlein overheads without buying beefier mic stands, and frankly I'd rather spend that money on a new stereo mic to play around with
I was somewhat impressed with the stereo spread of a mid-side overhead in conjunction with ORTF room mics. The kick and snare aren't perfectly centered in mid-side unless you use a George Massenburg approach, but unfortuantely that puts the hihats side of the kick in much closer proximity to the mics than the ride/floor tom side. Definitely a compromise with that setup. Either nail the kick and snare centering, or balance the stereo spread across the kit.
I would never use AB/Spaced Pair unless I was doing a metal or hard rock recording that needed the big spread of toms across the kit where the overheads are more like cymbal spot mics. I also would need to not care about mono compatibility. It always blows me away when I see spaced pairs being so popular and so many recordings end up with out-of-center kick and snare. Not my taste at all. For some folks it seems like stereo spread is king, but I'd rather have a narrower drum sound if it gets all the important bits in the middle.
This concludes today's rant. Now please get off my lawn.
After several days of testing multiple overhead arrangements on drums for an upcoming tracking session on Saturday, I've decided that I hate Recorderman. Maybe in a bad sounding room it would be the way to go, but it's omitting all of the great room sound I've built into this space. Way too dry, way too boring and thoroughly unnatural sounding.
On top of that, almost every video of it on YouTube is doing it incorrectly. I've only seen one video where the person did the trigonometry correctly to locate the over-the-shoulder mic equidistant from the kick and snare when compared to the over-the-snare mic. Most end up with their string line (usually an XLR cable) drooping significantly from the leg that goes to the kick when measuring over the shoulder and they'll say things like "this side is a little off, but that's fine." No, it isn't. The whole point of Recorderman is to center the kick and snare in the overheads, and allowing the kick to be closer to the shoulder mic than the snare mic will skew the image. Here's a great site (not mine) that describes the trigonometry involved in finding the correct placement for the shoulder mic in a Recorderman setup: You're probably miking drums wrong, and how to fix it
Last night I ordered a Shure A27M stereo bar for nailing an XY arrangement more easily than using two mic stands, and I also ordered a Cascade X15 to try a Blumlein setup. My only stereo matched mics with a figure-8 polar pattern are too heavy to reliably try as Blumlein overheads without buying beefier mic stands, and frankly I'd rather spend that money on a new stereo mic to play around with
I was somewhat impressed with the stereo spread of a mid-side overhead in conjunction with ORTF room mics. The kick and snare aren't perfectly centered in mid-side unless you use a George Massenburg approach, but unfortuantely that puts the hihats side of the kick in much closer proximity to the mics than the ride/floor tom side. Definitely a compromise with that setup. Either nail the kick and snare centering, or balance the stereo spread across the kit.
I would never use AB/Spaced Pair unless I was doing a metal or hard rock recording that needed the big spread of toms across the kit where the overheads are more like cymbal spot mics. I also would need to not care about mono compatibility. It always blows me away when I see spaced pairs being so popular and so many recordings end up with out-of-center kick and snare. Not my taste at all. For some folks it seems like stereo spread is king, but I'd rather have a narrower drum sound if it gets all the important bits in the middle.
This concludes today's rant. Now please get off my lawn.
You’ll figure it out.
I use heavy duty cymbal boom stands when I want a lot of reach. They are solid. I used mic thread adapters (Invalid Link Removed) that I tapped to mate with the cymbal stand.
I use heavy duty cymbal boom stands when I want a lot of reach. They are solid. I used mic thread adapters (Invalid Link Removed) that I tapped to mate with the cymbal stand.
( sound of old man sighing... )
EDIT: Just a joke. If I had the time to do what you are doing, I would be the idiot putting 16 channels on this thing!
EDIT: Just a joke. If I had the time to do what you are doing, I would be the idiot putting 16 channels on this thing!
Not a joke though. A mono overhead is a VERY viable solution if the genre of the recording allows for it. Do it with an omni or figure-8 mic and it's even better. Perfect mono compatibility, zero phase issues between a multiple overheads (i.e. since there aren't multiple overheads), perfectly centered kick and snare (and everything else). It works REALLY REALLY well in the right circumstances. This recording session will dictate a much larger and more lush sound so I won't be able to get away with it.
Both my Shure A27M and my Cascade X15 will be here tomorrow. 
I did some tests yesterday trying to marry the XY and Massenburg setups. The centering of the kick and snare was exceptional, and the spread wasn't bad. My space is very diffuse while also not being very large. As a result the cymbals tend to trend towards mono due to spill from one side to the other because of near-wall reflections. Nothing I can do about that without building a larger space. The toms spread out sufficiently though. When combined with close mics panned just a little outside of the stereo image in the overheads the spread was quite nice without getting into weird phase issues. I suspect the Blumlein will be the real winner in terms of centered kick and snare with nice stereo spread, but I'm not toally convinced that a pair of ribbons for overheads will give me the top end that I want. Alan Parsons always suggests that EQ'ing more top end into ribbon overheads works perfectly, and he's certainly engineered more great sounding records than me, so...
I did some tests yesterday trying to marry the XY and Massenburg setups. The centering of the kick and snare was exceptional, and the spread wasn't bad. My space is very diffuse while also not being very large. As a result the cymbals tend to trend towards mono due to spill from one side to the other because of near-wall reflections. Nothing I can do about that without building a larger space. The toms spread out sufficiently though. When combined with close mics panned just a little outside of the stereo image in the overheads the spread was quite nice without getting into weird phase issues. I suspect the Blumlein will be the real winner in terms of centered kick and snare with nice stereo spread, but I'm not toally convinced that a pair of ribbons for overheads will give me the top end that I want. Alan Parsons always suggests that EQ'ing more top end into ribbon overheads works perfectly, and he's certainly engineered more great sounding records than me, so...
Both my Shure A27M and my Cascade X15 will be here tomorrow.
I did some tests yesterday trying to marry the XY and Massenburg setups. The centering of the kick and snare was exceptional, and the spread wasn't bad. My space is very diffuse while also not being very large. As a result the cymbals tend to trend towards mono due to spill from one side to the other because of near-wall reflections. Nothing I can do about that without building a larger space. The toms spread out sufficiently though. When combined with close mics panned just a little outside of the stereo image in the overheads the spread was quite nice without getting into weird phase issues. I suspect the Blumlein will be the real winner in terms of centered kick and snare with nice stereo spread, but I'm not toally convinced that a pair of ribbons for overheads will give me the top end that I want. Alan Parsons always suggests that EQ'ing more top end into ribbon overheads works perfectly, and he's certainly engineered more great sounding records than me, so...
I have been wanting to try a set of ribbons for OH on my drum kit.
I’ll post how it goes on here. The only ribbon I currently have in my mix locker is a cheapo MXL R144 that sounds smooth up top, but is horribly raspy and coarse sounding in the midrange. I tried it on overheads once and immediately took it down. It’s no surprise that I have it listed in the local classifieds. This Cascade X15 should be orders of magnitude better... hopefully...
And the winner is...
The Cascade X15 in a combination Blumlein/George Massenburg arrangement offered a perfectly centered kick and snare, a wide stereo image for everything else and acceptable frequency response (a little dark but nothing a 2db boost using a 10khz shelf can’t fix, and a little raspy in the upper mids but a moderately wide Q peaking filter removing about 2db at 1.5khz smoothed it out).
Here it is in context:
I also tried a pair of original Russian-built Oktava MC012 SDCs in a coincident lair arrangement using my new Shure A27M stereo bar. Admittedly the frequency response was more to my liking, but the stereo image was never as wide as the Blumlein arrangement.
The Cascade X15 in a combination Blumlein/George Massenburg arrangement offered a perfectly centered kick and snare, a wide stereo image for everything else and acceptable frequency response (a little dark but nothing a 2db boost using a 10khz shelf can’t fix, and a little raspy in the upper mids but a moderately wide Q peaking filter removing about 2db at 1.5khz smoothed it out).
Here it is in context:
I also tried a pair of original Russian-built Oktava MC012 SDCs in a coincident lair arrangement using my new Shure A27M stereo bar. Admittedly the frequency response was more to my liking, but the stereo image was never as wide as the Blumlein arrangement.
nice, I like the Sub kick mic. I have been using a condenser less and less on the kick since I got my sub kick mic. Do you always use the SM7b on the snare? I use a 57Bata I prefer it to a 57 (still have a 57 on the bottom)
, I want to put a condenser on the side of the snare next time I do some tracking
, I want to put a condenser on the side of the snare next time I do some tracking
It’s one of my go to mics for snare. It’s like an SM57 but is a little more directional so the hihat cancellation is better. On the session today I moved the SM7B to the side of the shell and used an Oktava MC012 on the top.
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