Best way isolate ech drum

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buryher17

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anyone have any home remedies? I stypically use a trigger for the kick and put lots of blankets so it doesnt bleed with anything else, and for the toms i usually just place the mc on the bottoms

BUT

my overheads always grab way to much of everything else. I want the overheads to really only get the cymbals... I have up to 16 seperate tracks and want each track to be as close to possible as having only the actuall drum being hit.

Thanks duuuudes:D
 
Don't do that.

Seriously.

If you must, record the cymbals separately from the drums.

But, it will suck.

Why not just get an electronic kit?
 
scrubs said:
Don't do that.

Seriously.

If you must, record the cymbals separately from the drums.

But, it will suck.

Why not just get an electronic kit?
Click to expand...

Really? I thught that would eb a better thing to do cause it wilner (in a sense)

I as of now have pretty much a midi drum set. I have a pre stuffed snare/ kick and toms, along with triggers for all. All i would do is just set up the triggers to there liking, and set up all the cymbals with the overhead mics, and record it. I havent used any of the toms yet, but when i've done the kick/snare it sound pretty good.

The thing i have a problem with for electric sets is that it doesn't work as well as it would with triggers. At least using the "midi drum set" i can also have my cymbals set up and it's a more 'real feel" because its actually a drum set, just stuffed with a billion blanekts haha
 
why would you WANT your recording to sound like that? are you recording metal or something? do your drums sound bad? bad room?

I suppose you could put the mics closer to the cymbals (may get phase-y though) or try pointing away from drums and more at the cymbals.
 
You've got someone beating a drum set.

You can probably hear it being beat from upstairs, and possibly even half-way down the block.

How can you expect a mic that is only a matter of feet above the kit ... to not pick any of that up ? ? ?

Think about it.

.
 
Well, first of all, there is no way to "perfectly" isolate each drum. Which you wouldn't want to do anyway. It'll eliminate that "live feel" of the drums and the room sound of it all. The overheads are supposed to pick up a lot of the sound from the kit. Sure, it picks up the cymbals, but they pick up a large part of the stereo image for the kit.
 
If you want to isolte each drum, you can sample your own drums and then use a plugin like Drumagog to replace each hit... It may work! :)
I don´t think you can use that procedure with OHs...
 
Hi_Flyer said:
why would you WANT your recording to sound like that? are you recording metal or something? do your drums sound bad? bad room?

I suppose you could put the mics closer to the cymbals (may get phase-y though) or try pointing away from drums and more at the cymbals.
Click to expand...

i mostly record metal yea, and typically the bands that come into my studio don't have the bets kits... so pre recorded sounds are a lot better than what they can have form there kits. My room isnt bad, it's just not the best ever. By triggering it, it just sounds better.

And about the overhangs, i know i cant isolate eveyrhting completely.. thats comon sense, i just want to try and get it as isolated as possible so it can sound better.

I know many bands that record out of there on major record labels sets and have every peice of the drums (including even cymbals by using a keyboard) redone through drum triggers. I am just tyring to get my recordings to be as solid as possible.
 
There was a time, centered around the late 70's, when it was a popular approach to go for maximum drum isolation, and everyone was throwing Keepex's on every drum to gate out the bleed. We got over it, and for the most part, the approach is to see the drum kit for what it is, a whole instrument. You generally end up doing more damage by trying for all that isolation than any benefit you gain.
 
I mostly do metal, but I have the opposite problem. Cymbals and hats all over everything else
 
Th majority of your DRUM SET sound should come from your overheads.
 
Why not just use fake drums?

You can alter the ratio of the amount of drums to cymbal ratio in every mic with proper mic technique. For OH's, the higher they are, the more the drum sound will be in there, the closer to the cymbals you get, they more cymbal will be in them. For drum mics, pay attention to the rejection zone of cardioid mics and take advantage of it.
 
i take it you are recording all of the drums and cymbals on separate tracks???
if so, good, use drum replacement for the cymbals using bfd or summit

that works for me if i cant get the sound i want
 
yeah, why would you need so much isolation, when you listen to drums, you don't hear each drum individually, but all of the drums resonating off of each other.
 
buryher17 said:
i mostly record metal yea, and typically the bands that come into my studio don't have the bets kits... so pre recorded sounds are a lot better than what they can have form there kits. My room isnt bad, it's just not the best ever. By triggering it, it just sounds better.

And about the overhangs, i know i cant isolate eveyrhting completely.. thats comon sense, i just want to try and get it as isolated as possible so it can sound better.

I know many bands that record out of there on major record labels sets and have every peice of the drums (including even cymbals by using a keyboard) redone through drum triggers. I am just tyring to get my recordings to be as solid as possible.
Click to expand...

triggers are fine... just, if you're going to record with mics, it's not a good idea to get everything isolated so much..even good sample libraries try to emulate the bleed and resonance between mics/drums, which is what makes them sound realistic.
 
RAMI said:
Th majority of your DRUM SET sound should come from your overheads.
Click to expand...

I'm a little partial to getting a lot of the sound from the room mics with just a little of the OH's with a hipass filter to add some sizzle.. Then again, I'm a big room mic guy... love em.
 
shitty drummer+ shitty kit = shitty recording.
good drummer etc...= good recording.

learn to tune as best as you can, or get a house kit that you take care of, that's the most you can do......
 
TerraMortim said:
I'm a little partial to getting a lot of the sound from the room mics with just a little of the OH's with a hipass filter to add some sizzle.. Then again, I'm a big room mic guy... love em.
Click to expand...

I can't disagree with that, but I have never used room mics. I'd love to try it one day.
 
p.s. i've never liked the way that toms sound mic'd from the bottom, fine if you're going to replace i guess.... but sounds like but imo.
 
giraffe said:
shitty drummer+ shitty kit = shitty recording.
good drummer etc...= good recording.

learn to tune as best as you can, or get a house kit that you take care of, that's the most you can do......
Click to expand...

Yep. Probably a delicate conversation to have with a client...

"How come my drums don't sound good on the recording?"

"Um, becuase your drums don't sound good".


Kids don't understand the years of work it takes.
 
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