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Thread: No More High Hat Please!!

  1. #21
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    Well sorry, i have to correct my self. I use to just throw up my OHs and hope for the best, but after i posted something in the clinic someone told me about the G/J which i had read about earlier in Tape op, so i decided to try it, and with the addition of the advice i got for all you lovely people I HAVE THE HATS UNDER CONTROL! The positioning the snare mic directly away from the hats helped a bunch too, I mean i felt stupid becuase it made so much sense seeing it is a cardioid pattern. DOY!

    Thanks so much,
    -Barrett

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    Hey im glad the problem is over, but i dont really know what you mean with the G/J Technique, perhaps i know it by other name, can you explain it?

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    Quote Originally Posted by dualflip View Post
    Hey im glad the problem is over, but i dont really know what you mean with the G/J Technique, perhaps i know it by other name, can you explain it?
    He probably means Glyn-Johns.

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    Ohhh Ok, i like that one, but i like reinforcing the toms with some spot mics

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    For the most accurate portrayal of natural dynamics you should use all or mostly overheads.

    I've never known anyone that listens to a snare, kick or hats by putting their ear right by the drum head or cymbals, but everyone seems to think that's where microphones should be placed.

    I've had many an argument with engineers who have a hard time close mic'ing my unmuffled, ringy drums. They always want to use gates, lots of compression, etc. Why not just use a drum machine if you want a sterile, unnatural sound?

    My mantra is always "Room Mics!" And it always sounds so much more natural.

    My .02

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    Quote Originally Posted by twelveight View Post
    For the most accurate portrayal of natural dynamics you should use all or mostly overheads.

    I've never known anyone that listens to a snare, kick or hats by putting their ear right by the drum head or cymbals, but everyone seems to think that's where microphones should be placed.

    I've had many an argument with engineers who have a hard time close mic'ing my unmuffled, ringy drums. They always want to use gates, lots of compression, etc. Why not just use a drum machine if you want a sterile, unnatural sound?

    My mantra is always "Room Mics!" And it always sounds so much more natural.

    My .02
    And then wonder where your kick went and why your snare sounds so weak once bass and distorted guitars are dumped all over it.

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    Quote Originally Posted by twelveight View Post
    .

    I've had many an argument with engineers who have a hard time close mic'ing my unmuffled, ringy drums. They always want to use gates, lots of compression, etc. Why not just use a drum machine if you want a sterile, unnatural sound?
    but others may call them out of tune with bad overtones. i had a drummer in a while back who's set had incredibly ringy and just plain out of tune toms. not to mention that they were tuned way too high, even the floor tom. there was nothing that i could do and no way that i could convince him to tune them up right. and of course the heads were shot so even tuned they would not have sounded very good.

    a drum that is able to be tuned well without damping is a beautiful thing though. why is it that drummers seem to be so cheap when it comes to heads?

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    Quote Originally Posted by Greg_L View Post
    And then wonder where your kick went and why your snare sounds so weak once bass and distorted guitars are dumped all over it.
    John Bohnam, Mitch Mitchell, et al.

  9. #29
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    Quote Originally Posted by RAMI View Post
    I've always found that to be a disaster for ghost notes, etc....
    Automation FTW!
    They that can give up essential liberty to obtain a little temporary safety deserve neither liberty nor safety. -B.F.

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    ....................
    Last edited by twelveight; 09-12-2008 at 15:33.

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