Topic: what to do?

[peterbilt]

A friends band has asked me to record them again, which I guess is a good thing only my options are a bit different this go 'round.
The two previous occasions I was able to run from the stage ( center ORTF) and form the lip (center NOS) and both yielded nice results. However, both times before this upcoming show were in different venues, and both used identical stage setups for the band.
This time around, they are playing in a venue I have taped in before (and am WELL aware of some of the problems with mic placement) and the use a different stage setup for the band.

This cheezy little paint pic shows the layout they are going to use for the upcoming show.


Yeah, I know it's kinda difficult to read but bear with me please.

I have recorded in this room before using the mic stand from the ceiling, and generally speaking, due to bands usually setting their drumer up DFC of the stage I get quite a bit of cymbal and I'm convinced most of it is due to the height of the mics being on the same plane as the cymbals. I've tried several different setups and have decided that ORTF is best from that stand.

The band is instrumental with the Power Station being the control room for the onstage theatrics (I'll post pics after the show) as well as the samples they play between songs. The Power Station is the biggest reason I am NOT considering a board feed into any of my possible setups. Sometimes the feed from his gear to the board is overpowering (did I really just type that ) and it always sounds better with the room being mic'ed.

I have a bit more gear on hand this time, and am considering a mix of onstage placement as well as a pair from the stand on the ceiling.

Here is what I am considering...

1. Run the MBHO's (603/200) at the lip (X/Y)
2. Split omnis (NAK 300/cp2 3' spacing between monitors (they may move them farther to the side of the stage that night).
3. Combination of option 2 with one MBHO from the ceiling.
4. Close micing both cabs (NAK cp1), one NAK (cp2) in front of the drummer, and both MBHO's from the ceiling (probably ORTF)
5. Any ideas you folks care to toss out there.

I have the possibility of borrowing an 8 channel mixer to feed any of options 3 and 4 so I am seriously considering those, and with the ability to get in at load in with the band and setup befrore the sound check I am going to have the chance to try out different options at that time.

Sorry for the long post, but if you have any ideas or experiences you would care to share I would really appreciate it.

B.

[Chanher]

that's pretty complicated so I didn't read it very well but here's my opinion:

1. I've had great results running split omni's (one on each corner of the stage, facing crowd) mixed with a board feed. This is one of my favorite methods that I learned from Doug Oade's posts and I know the ts member who wrote the multitrack guide prefers this method as well.

2. If you have access to some dynamic mics, consider running one on the bass cab and one in front of the kick drum (maybe you better check to see if a dynamic mic can handle a kick drum without being overloaded). Throw a condensor over the drums, then run either a dynamic or condensor on the guitar amp. Run these into your 8 channel mixer and you have direct control over every instrument. Since you still have extra channels on your mixer, throw those omni's on each corner of the stage. If you can get the mix down right during setup/soundcheck, you're going to have some HQ results.