Skating Club

Skating Club was a quietish 3-piece, with two guitars, one singer, and a drum kit. Not very complicated, but some interesting things to note:

– I used a RE10/MD421 pair on the “lead” guitar amp and just an SM57 on the other guitar (there was no bass). I left the SM57 in the middle of the mix and slightly left/right panned the other two. It gave the lead guitar a much richer sound, I thought, without crowding the mix as hard-panning a dual-miked cabinet sometimes does. In retrospect an RE20 probably would’ve been better on the rhythm guitar, oh well.

– Because I haven’t slept much lately, I used an ATM25 for the snare mic and an SM57 for the rack tom, rather than the other way around like we usually do. The ATM25 actually sounded great on the snare (should be noted that the snare was a bit deeper-bodied than a standard snare) and might be worth using for that purpose in the future. The 57 wasn’t godawful (or particularly nice) on the rack tom, but since we have 3 ATM25’s this might be one solution to our snare-miking problem.

– I used a subtle drum plate effect on the kick drum, which by some weird resonance with one of the symbols actually sounded pretty awesome.

– The lead guitar was very dynamic and could probably have benefited from some compression; I tried to ride the faders but there’s some parts of the mix that really just don’t sound right.

– Quiet, sparse bands confuse me in general. Mostly I just tried to keep the drums and vocals audible and work the guitars in around those. I haven’t listened to the final mix yet, but it sounded alright during recording.

Other than that, business as usual. Very friendly band, incredibly painless soundcheck, and in general a nice laid-back recording session.

Comments welcome.

3 thoughts on “Skating Club

  1. quick lunchbreak thoughts–

    overheard parts of it, sounded really good. Nice thing about bands w/ minimal instruments is you can hear everything. Drums may have been a *hair* loud, I’d have to listed to the recording to say for sure.

    Good find on the ATM25! I’ve found that RE-10 sounds great on snare also, it gives a lot more low end than a 57, which can be nice if there’s no bass filling the low end.

    I take it the ATM25 had a lot more low-end than a 57–were the mids and highs strong too, or were they more muted?

  2. Yeah, the ATM25 gave a much fuller sound than the 57 usually does with the snare. My favorite snare mic is the RE-10 too (good low-end, but it also that nice midrange “snap” to it), but since that’s also my favorite rock-guitar mic it usually doesn’t get used for that when I’m engineering (would’ve been fine last night; the 421 was all the lead guitarist needed). One of these days I’ll win an ebay auction for a second one; they usually only go for $50 or so.

  3. The floor tom sounded deep and full in the control room, but sounded like total crap in the studio. When we looked at it after the set, the ATM25 was placed directly over a moon gel on the drum. I wonder if the gel helped dampen out the “out-of-tune” midrange component of the sound, or if we just happened to hit the sweet spot by chance.

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