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[soundian]

If the source sound is shit, the recorded sound will be shit.( It might be very well recorded shit, but it will still be shit, Stripey).8 hours is hardly enough time to set up a drum kit sound imo, but most of Cpt Toms clients won't pay for that time, which is probably (coupled with the SISO effect), why the studio has a bad rep in some quarters.

On a more practical note, if you want a "clicky" kick drum, try double miking it. Use one mic as normal, and another on the beater side for the "click".

[PVH]

Originally Posted by Chi 666

the quality a toms is more than good enough for ALL aberdeen bands

I beg to differ.

[ZeromiserY]

Originally Posted by soundian

If the source sound is shit, the recorded sound will be shit.( It might be very well recorded shit, but it will still be shit, Stripey).8 hours is hardly enough time to set up a drum kit sound imo, but most of Cpt Toms clients won't pay for that time, which is probably (coupled with the SISO effect), why the studio has a bad rep in some quarters.

On a more practical note, if you want a "clicky" kick drum, try double miking it. Use one mic as normal, and another on the beater side for the "click".

finally, some decent advice.

this forum is trurning to shit just like most of the ones we're involved in.

que retaliations.....

thanks soundian. i'll mention this to paul on the day.

[Chris]

Originally Posted by ZeromiserY

want that clicky, sharp, short kick sound. ah-la five minutes alone. i know im not going to get near that but as close as' would be good.

any tips.

also, whats the best way to convey this to an engineer who's probably recorded another ten bands that month and is more than likely a little bored of the whole process?

The best way is to take along a CD with 5 minutes alone on it and let the engineer hear it. Although to be honest most engineers who have had any experience recording metal bands will have had similar "I want it to sound like Vinnie Paul" requests and should know what you're asking for.

[WoodyRATM]

Originally Posted by soundian

If the source sound is shit, the recorded sound will be shit.( It might be very well recorded shit, but it will still be shit, Stripey).8 hours is hardly enough time to set up a drum kit sound imo, but most of Cpt Toms clients won't pay for that time, which is probably (coupled with the SISO effect), why the studio has a bad rep in some quarters.

On a more practical note, if you want a "clicky" kick drum, try double miking it. Use one mic as normal, and another on the beater side for the "click".

not wanting to sound stupid, but what is SISO?

[Iomega]

Originally Posted by Chi 666

why bother, the engineer will make us ace anyway, no matter how shit we play.

No he wont.

[Chris]

Originally Posted by woodyTUH

not wanting to sound stupid, but what is SISO?

shit in, shit out.

[GraemeC]

Originally Posted by woodyTUH

not wanting to sound stupid, but what is SISO?

Shit in Shit out....SISO

Toms is a great place to record up to a certain standard, they make recording affordable to young bands with a tiny budget, and with a little forward planning, lots of rehersal and a knowlege of your own equipment and how you want to sound, an acceptable demo recording is achievable for little financial outlay at Cptn Toms.

Thats my opinion for what its worth...8)

[The Byre]

Originally Posted by GraemeC

with a little forward planning, lots of rehersal and a knowlege of your own equipment and how you want to sound, an acceptable demo recording is achievable for little financial outlay at Cptn Toms.

I totally agree. I have heard demo recordings made there by bands that have come to us for a more professional product and given the very low prices he charges and the very short time in which the whole thing has to happen, I feel the bands have got good value for the very small amount of money that they have had to pay.

[Keilan 303]

I'd stick to 3 songs max, your best songs that you can play well (although have 1 or 2 ready if something doesn't seem to be working). For a clicky bass drum, use plastic beaters, tape an old CD to the kick head where the beaters hit the skin, get the mic in close, use 2 mics on the kick (inside and out) inside for the clicky sound, outside for the thumpy bass sound. Use DI's and/or amp simulators while you record the drums, keep the noise in the room to an absolute minimum, even get strummy guitarists to keep their distance, the overheads can pick up a lot. Keep your headphones as low as possible, but not so low that you struggle to hear whats going on. Throw up a mic in the middle of the room to use for effects, a bit of distortion and compression can turn it into a monster sound...heres an idea on road to ruin which is just 5 minutes of me fucking about, but using automation (which Cap Toms don't have the luxury of mind you) I'm bringing down the close mics and leaving just the overheads and bringing up a room mic with lots of distortion and compression, I'm also changing the guitars to a weaker sound to really let the drums cut through at this part...

http://www.keilan303.demon.co.uk/SOM-middle.mp3

Ok it might suck, but use the time to try out stuff like this...although think some of this in advance. To save time the bassist could record his parts while the guitarist records his. Beg/steal/borrow a bass pod or similar, use a shit hot valve amp with a good cab for the guitar, crank it up loud, try and get the head in the control room and the cab in their ISO booth so you can adjust settings and hear how it is really sounding rather than struggling to hear the headphones for noise coming from the cab. Usually best to leave the vocals to last, although make sure the singer doesn't get bored while the music is getting laid down, bored singers turn to booze and drugs quickly, and this will deterioate the quality of singing. Try and work towards your final mix each time something is laid down, the more the singers headphone mix sounds like the finished article, the better a performance he will give. It's hard to give it your all standing in a room in front of a window, not to sound too cheesey but the more you can get lost in the music and really fell like you're archie mcfluff, the better.

Take lots of notes. If theres any duff noises, get them scrubbed before mixdown. Singer breathing coughing between breaks, lead guitarist playing crossroads before his solo comes in etc. When it comes to mixdown, have the sound in mind and work towards it. If theres time, fart about with different things. If theres some ideas you want to try but are not sure, try them anyway, mix them down to CD and you can go back at a later stage and edit in the best bits, don't think that just changing some faders and hitting play then record on the CDR will provide a great mix. As the songs change elements of the mix should change to reflect this. If the singer is shouting it might sound great to give it some distortion on a delayed signal, but this wouldn't work for a verse etc..

Apart from that...I wouldn't expect miracles...