Help me make a "how do record band" guide!!!

[gabriel g.]

This might be very helpfull for all the people here mixing bands they didnt track. So lets make a simple list, every starter will understand, so we (the mixing dudes) have more (and most important BETTER) options in the mix:

I´ll start with some basics:

TECHNICAL DATA STUFF:
-Record everything at 44.100hz and 24bit WAV or AIFF
-NO processing on the different tracks
-Enough HEADROOM on the tracks (-18dBf to -10dBfs on every single channel)

TRACKING STUFF:
-Use new strings and IN-TUNE instruments
-Use new skins on the drums
-Use a pop-filter on the vocal-mic

TECHNICAL STUFF DRUMS:
-Use one (or more) mic(s) for kick, snare, tom(s),
-If you have the option also one mic for the hats and one for ride
-Mic the OH with 2 mics. easiest way is to use a SMALL-AB

Small AB:
2 condensor mics are
-On the sime hight (like 2 meters over the ground)
-Pointing both straight down to the ground (90° between the floor and the mics)
-Distance between the mics minimum: 15cm max 30cm

GUITAR STUFF:
-Always use a DI
-Record the Dry-signal
-Record the amp ->Not too much gain (palm-mutes should sound good), DO NOT SCOOP the amp

BASS STUFF:
-Always us a DI
-Record the Dry-signal
-Record the amp

Tracking:
Everything need to be TIGHT (maybe Über-tight)
So dont make any compromisses here!!!
If the drummer has a problem with double-bass then mute the kick (with putting stuff in the bassdrum) and try to get rid of the bassdrum in the other mics.

Editing:
The mixing guy doesnt edit your songs (only for a extra cash)
So edit everything as good as you want it and as good as you can.
If you are editing the tom or snare hits, make sure you move every drum channel with, so the drums stay in phase.

 

[abigor731]

this may be a stupid question, but why does the mixing engeneer need the headroom on the individual tracks? doesn't the engeneer have to adjust the volume on every track anyway

i think it isn't necessary to add explainations to all of the points since they would make this guide too long and a lot less compact, but i'm just curious

 

[Harry Hughes]

Always use a DI? Seriously? Why?
There is no reason to always have to use one. If a tracking engineer in a decent room can pull good tones straight from the amp, what's so wrong with that?
As for gain, it just depends on the style really. For Nevermore/Arch Enemy kind of stuff, something pretty saturated enough that the palm mutes sound big and sustain properly is the name of the game, whereas some other styles that may be overkill amounts of gain because you have to remember not everyone here always tracks metal bands.

 

[Fredrik-Ablaze]

http://www.antfarm.dk/dogma.php this is a great document!

 

[AEL89]

Always use a DI? Seriously? Why?
There is no reason to always have to use one. If a tracking engineer in a decent room can pull good tones straight from the amp, what's so wrong with that?

Why not record a DI? In case you get to the mix and realise the tone, even if it sounds epic soloed, isn't working so you need to try something else. Just insurance - there's no reason to not take a DI.

 

[joeymusicguy]

i support the "always di" notion

it can be used for a lot of functions other than reamping

 

[slashvanyoung]

Even if you just use the DI as a reference for easier editing...

 

[muckypup1]

^^ Thats what I would have thought always having a DI track would be good for, because if its covered with stupid amounts of distortion and needs editing, without a DI track how the fuck is that going to happen!?!?!?

 

[Harry Hughes]

Why not record a DI? In case you get to the mix and realise the tone, even if it sounds epic soloed, isn't working so you need to try something else. Just insurance - there's no reason to not take a DI.

Admittedly, now that I read your post, I misinterpreted what you meant originally, my apologies.
What I thought you meant was "Make a DI with the intent of reamping".
Probably would have been clearer had it said "always make DI tracks in case" because "Always use a DI" can be interpreted as "always reamp with DIs".
I think as a general rule and I'm sure you'd agree, go for the best tone possible and if that fails, use the DI.
While of course eventually modeling will become so good that recorded mic'd amps will become far less common, for now I think for those that own real amps, the art of knowing how to capture a good tone straight off the bat should be a skill honed to perfection.

 

[thefyn]

It is real easy:

Chapter 1: Does your band have a guitarist? If so, ask him to record the band because he knows how.



Then end.

Kinda like how Token knew how to play bass in South Park.

 

[GarethSE]

If you have a less than ideal setup for recording drums than invest in a set of triggers please, because I'm getting sick to death of spending an hour re-programming kick tracks because the original files sound like wet farts. Seriously, just give goddamn trigger tracks. D:

 

[gabriel g.]

If you have a less than ideal setup for recording drums than invest in a set of triggers please, because I'm getting sick to death of spending an hour re-programming kick tracks because the original files sound like wet farts. Seriously, just give goddamn trigger tracks. D:

Good point but IMO editing is not the job of the mixing guy
If we (I) need to do it ALWAYS charge the extra time...

IMO the most important thing are good recorded OH!!!
With triggering software like Drumagog, Aptrigga and many many more you can always get a good drumsound....but only with good OH

About the DI:
I didnt mean it to ALWAYS reamp it, just as a backup if the original tone doesnt work in the mix. And it is better for editing....