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Thread: micing drums and eq

  1. #11
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    Sorry, no.
    PC Win7-64-24G i7-4790k/Cubase 10 Pro 64-bit/2-Steinberg UR824's/ADAM A7x/Event TR8/SS Trigger Plat Deluxe/Melodyne 4 Studio/Other things that don't mean anything if a client shows up not knowing what it wants.

  2. #12
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    Boulder, CO
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    None of those will have any bearing on the first reflection off the ceiling to the overheads.

  3. #13
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    They might interrupt comb filtering at certain frequencies (as opposed to straight-up parallel surfaces), but it isn't going to flatter anything...

  4. #14
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    then maybe i'll just get that big drum sound and try to fit it in the mix . thanks all for your replies.

  5. #15
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    A little late, but could you try the condensers on the toms instead of overheads? You'll get plenty of cymbals in the other mics. For a good pop sound, I'd prefer close-miked drums over the uncontrolled room sound. Should be able to get a good tom sound and reduce the room sound this way. The cardoid pattern will give you the proximity effect you want for the toms.

    Might be able to copy the tom tracks and use them as OH tracks with a high pass and EQ to bring out the cymbals. If you position the condensers carefully, one can pickup the HH and the other the ride (usually something we try to avoid with tom mics). Cut highs on the tom channels to compensate for any highs you boost on the cyms.

    Toms can be panned mid, and OHs wide. Maybe delay one or both OH 30ms to create distinction from the tom tracks. Maybe pitch shift toms a few cents down for the same reason. Maybe gate the tom channels and get all the cyms from the OH (copied tom) channels. You might need to edit or use a fast compressor on the OH (copied tom) tracks to prevent the tom hits from being too loud compared to the cymbals. This should work since toms are rarely played simultaneously as cymbals. They are often played before crashes (as opposed to after), so they shouldn't cause ducking on the sustaining cymbal. If it does, grab a crash from somewhere else in the drum track and replace the one where the tom hit causes ducking. After eliminating any too-loud tom hits, you can compress the OH track as desired.

    Before the drummer takes down his kit, setup the condensers as overheads and get 2 or 3 nice crashes from each cymbal in case you end up with junk from the tom tracks. You can use those crashes if needed in the mix. Also do this close-miked with the 3rd tom, since you only have condensers for 2 toms. Then you can paste the tom hits for tom 3 where needed on it's own track. If you cut highs on tom tracks 1 and 2, do it here too.

    Might not even need the OH (copied tom) tracks if you leave the other mics ungated. Copying the tom tracks is just an option in case you don't get enough cyms from mixing the 4 drum mics. I would try mixing the song with just the drum mics first. If the OH seem to be missing, try the tom-track-copy I described.

    I want to try this to see how it works. Can I use your kitchen?

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