That time I recorded @maggottemple in @sae_barcelona
For those techies... We wanted a warm fat sound, especially in the snair and kick, so after tuning and dampening to our liking we began miking:
Kick in (beta 91a)
Kick out (beta 52 with capsule pointing to the side toward the center of the membrane and placed just outside the hole)
Snare top (sm57)
Snare bottom/kick (sm7b, interesting technique I was told about recently: you place the mic between the bottom snare and the kick, pointing the capsure directly where tha hammer meets the drum, you get a punchy kick and a more pleasant tamed snare sound as opposed to a slightly more agressive sm57 approach imo)
Hh (mkh 80)
Tom (sm57 due to an unfortunate shortage of mics)
Floor tom (md 421)
OH (we tried an XY approach with my two new akg c1000s)
Glyn Johns (since one of the songs has a kind of 70/60s rock vibe we decided to put our c414s to good use and tried a traditional Glyn Johns stereo technique conpleted with the snare and kick reinforcements)
Finally we added one more ambient mic that one of the technicians suggested which was a large diaphragm valve condencer mic (can't remember which model it was) and placed it facing toward the space between the kick and the snare and close to the floor but pulled back about a meter and a half or two. This mic was a great touch that gave it a warmer, fatter and even crunchier sound that really completed the mix!
We recorded all mics through the mythical ssl 9000 aws mic preamps, passing some of the channels through the desks fantastic compressors and they sounded gorgeous!
Overall, a very fun project and very informative. Looking forward to mixing it!