February 14th, 2017
Yesterday I had my first session working with Jim Stewart, a very accomplished recording engineer in Cleveland, Ohio. He was recording through the SSL Duality SE console. We were running a session for the Cuyahoga Community College High School Rock Off band finalist “Montage.” They a 3 piece band consisting of Cleveland School of the Arts students Kevin Pace (drummer), Alana Amore (guitarist and vocalist) and Jasmine Sims (bassist and vocalist).
I started setting up mics with Bryant and Russell a little before Jim arrived. On the mic input sheet an “overkick” was listed which I had never seen before. It was explained to me as a mic that hangs above the shell of the kick drum. It’s purpose is to add more punch to the overall kick drum sound.
Once the drummer set his drums up the hi hat was too close to the snare drum which made it hard to set up the snare drum top microphone. Jim showed us a technique where the top of the SM 57 is unscrewed and taped to the body with gaffers tape to make an ‘L’ shape so that it can be manipulated to reject the sound of the hi hat more easily. He also sets up his room microphones so that they are in line with the kick and the snare as opposed to setting them in front of the drum kit (which will cause the snare and hi hat to sound off to the side instead of in the center).
We used a Copperphone microphone on the drums as well just to see how it would sound. We tried to use the Wunder CM7 as a vocal microphone but it started to pop so we had to replace it with the Audio Technica 4050.
Jim also used the API and Warm Audio 412 Pre-Amps. The Warm Audio 412 pre-amp are supposed to be a clone of the API pre-amps so he wanted to see how they compared to the API’s.