Well he said he got a solid sound so I figured why not just add more mics so he can get better sounds. Plus I'm assuming he doesn't have enough mics for a live recording. I just think he should have at least one mic for each instrument and for each drum with overheads. Even if he does have a small room, having a room mic track to edit can do a lot for the live sound. I agree with you everything you said earlier but I'm going off the fact that he said he had solid sounds already.

Well....I was doing one over the rack, one kick, one snare, one ambience. I thought that was plenty, atleast for now. Its not completely seperated out...When I play back the kick track, you can hear the snare, etc...There is just alot of emphasis, and the other mic's add body to the sound.


I agree with that 100%, I didn't get to use the set I use at home @ the studio, but the nuances are completely audible. I can change out wood for steel in my room...and to the naked ear there is zero difference. The only thing I have going for that room is that its dead. Zero reverb/echo.
I'm not...super great....with comp software when it comes to music. I can make techno but mixing real music is a chore from hell.
I have the Trackmachine's EQ's and I can set one for main, and individual. Basicly make the bass fat, and the drums crisp...but aside from that I'm a total noob I guess.
For the bass its from guitar to tracker. Guitar goes from Amp to tracker, but also line fed....I had super harsh interference when I tried micing the amp for the bass, and I was sort of "once bitten twice shy" with that. I have two lines for phones, with splitters on both. Everyone can hear the total sound while playing with the headphones one, but w/o, all you hear is the drums. Thats how I've been doing it live.

I have two 58's...and a pair of the cheap version of the 57's. I find the 58 to be incredibly versatile. I tried it for a week before I bought it, and I chose it over the 57...it was roughly the same price.
Whats the difference...why is it better for instrument micing? I just liked the durability and the fact it could handle everything I threw at it xD. Going from snare to vocals makes things alot simpler ;D
I'm putting a condenser mic with shock mount on lay-away for vocals, its only 65 bucks and it works GREAT. One other thing I dont think I got across is the fact I'm on a nearly broke budget xP
and Progressive Rock I guess....for the genre. Leaning towards hard rock and bluesy metal....its hard to define.

57's are great beacuse the area it picks up sound from is very narrow, so the angle/distance at wich u place it makes a huge impact. they dont "leak" nearly as much as 58's.. ex. when micing a guitar amp, the exact angle, distance and placing of the microphone has a huge impact. you can capute different nuances of the sound by placing the mic more to the center/right/left of the element of the speaker. this has alot to do with phase of the soundwaves.

for experimenting with drum sound, have you tried micing the from underneath? for some snares it works better.. and you should try different angles and placing with the overheads but make sure they are allways symmetrically placed. you should also take in consideration very loud cymbals (especially chinas) when placing the overheads.

but some leakage can be pretty ok when recording. you should try recording live with the gtr amp mic'd and just let it leak. there might be some crispiness added to the sound with some of the gtr leaking into the drum mics. or then you can but something in between the gtr amp and the drum kit (build some temporary wall with matrasses or something? :D) for isolation or move the gtr amp to another room while recording.
live recording or track by track, what im tryig to point out is that for good sounding guitars, please do use a mic for capturing the amps sound and do some experimentation with where at the element the mic is pointing. but allways keep it at a more or less 90 degree angle towards the amp and at a couple - few cm distance. find the spot on the element wich sounds the best.

for good sounding bass, mic the amp for capturing the texture of the sound and use the line signal from the bass (using a DI-box to split the signal into the amp and a line out) for the "bassiness"/low freq. use EQ to boost low freq on the line channel and boost some on teh 1khz-3khz for crispiness/on the mic channel. having 2 channels for bass is important and should not be overlooked for good results

use EQ to find "harmonics" that are annoying and dip them out. best way to do this is making a narrow Q slope, boosting it alot and then scroll through all the frequencies to find bad sounding harmonics and then eliminatng them. if this sounds like strange gibberish and is hard to grasp then just try to do it, open your trackmachie, open the eq on some channel and try what i said (normally you find one bad harmonic around 170-190hz), you will notice what i mean with "harmonics".

(to explain Q, its something like this: the curve of a band/parameter you boost/dip on the EQ looks like < with high Q and like ( with low Q, both of them horizontal ofc ;D but all of this may know already)....

Yea, I had never tried micing an amp before, thats pretty cool stuff
I'm going to try recording at a different place in the next few days. A buddy of mine has sort of a home made studio going on, and asked if I wanted to try it out.

Most of the Q stuff....I don't get. I understand what an eq is, and I know how to set levels, boost some for w/e. But singling out harmonics.....thats a new one.