We recorded this track to a click with Nige on his own in the live room and Bob and Kie playing along in the control room using the emulated speaker out of my Laney Ironheart and the bass through my Sansamp VT Bass.
I put loads of mics out around the drums and once I had settled on overhead placement which ending up being a spaced pair of AKG C414 (into Focusrite ISA preamps) quite high above the kit I started choosing the close mics for the kit. For the kick I ended up with a Sennheiser e901 inside (Focusrite ISA 430), Sennheiser e902 (SSL channel with a DBX 160 inserted) about 2-3" inside the hole pointed where the beater hits, I also put a Rode K2 (Avalon VT737) outside the kick next to a Yamaha Sub Kick (UA 710). I built a kick tunnel around this using EQ Acoustics Free Space panels because I know Nige is heavy on the cymbals and wanted to reduce spill as much as possible! The snare ended up with a Beyerdynamic M201 (API 312) inside a Primacoustic Crashguard to try and limit hi-hat spill on top and a Sennheiser e906 (API 312) on the bottom. The floor tom was only used for 2 hits in the entire song but ended up settling on the Audix D6 (API 312) pointed towards the centre of the skin which gave a really nice full sound with a good attack to it. Hi-hat was covered with a Shure SM7B (Focusrite ISA) pointed away from the snare, because I knew how important the hi-hat was in this song so wanted to have as little spill from the snare as possible in it.
After all this was in place I then measured out some close mics and room mics and ended up with a room mic pairing of an SE RNR1 (UA 6176) and a Placid Audio Copperphone (UA710) about 6 foot away from the drums and fairly level with the cymbal line and for room mics I used Cascade Fatheads (UA710) about 12 foot away from the snare towards the corners of the live room.
While we were tracking the drums we got a really nice bass sound on the go using my Sansamp VT Bass so we pretty much just rolled with that, we ended up adding a DI before the Sansamp just in case we wanted to do something different with it in the mix.
We kept the guitars really simple. One side was a Danlectro guitar into an Orange OR120 through a Zilla 2x12 with a mild overdrive on it that was quite bright, for this guitar a Shure SM57 and a Shure SM7b with the presence boost won. On the other side was a Fender Telecaster going through a Peavey 6505 into the Zilla 2 x 12, for this one we went for a warmer sound with a little bit more gain and in the shoot out an SM57 and Sennheiser MD421 won.
All the vocals were done with a Shure SM7B with a Placid Audio Copperphone next to it. The Shure SM7B went through a UA6176 and was compressed quite heavily with the 1176 with a fast attack and fast release to catch the beginning of words.
