Best way isolate ech drum

  • Thread starter Thread starter buryher17
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leddy said:
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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haha yea i completely agree... its so hard t explain to the 15 year old kids why they cant have there drums sound as good as my drummers does on our recordings, and im just honest and im like "thats years of experience... you have to learn hwo to tune them correctly, and hit them correctly. Any idiot can hit a drum, you have to hit everything in a certain way to get a "grovy sound" or GOOD sound."

Theres so many replies id like to reply to but i dont kno where to start haha. Basically i've never used a room mic because my room mci would be a mxl 990 and i HATE that mic haha so i shy away from that. But what im tyring to getw ith my drum sound is "in your face" I want the cymbals to be obviously there but not loud, and the primary sound is from the snare/toms/kick.

A perfect example to anyoen who knows is Black Dahlia Murder's new cd. The drums are exactly what i'd dream to have it sound like. There all in your face and perfect sounding. And i spoke to the singer of BDM and he told me how they used triggers on all the drums and for cymbals they were replaced with pre recorded cymbals. The drums sound amazing!

for pop bands that i record however i mic them (not trigger) unless they feel there kick is too weak and want it triggered with a nice trigger sound that suites them. I personally think the kick trigger is ideal for ANY genre of music. Theres hundreds of presets in my dm5 that all sound great.


thanks for the advice guys
 
i just tell them,
"you know, your kit doesn't really sound that good.... and there's really not that much i can do about it."

people are usually sympathetic.
even a 15 year old knows when his kit sounds like shit...
 
Can someone tell me how to isolate each string on my guitar?
 
I just record voice ...

... and I'd like to know which mic would sound best for close-mic'ing my tonsils.

I want to make sure my tonsil track is separate from my molar track.

Oh yea ... and I also get way too much lip bleed on my left nostril track. Anyone got any ideas how to prevent that?

:D
 
RAMI said:
I can't disagree with that, but I have never used room mics. I'd love to try it one day.
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It depends on the room. I recently was working in a very nice aggressive sounding room...so I threw up a couple RE20s (seriously) as room mics about chest height to capture lots of kick and snare, and then just used the OH's a little lower in the mix to add a little more sizzle to the cymbals and a little inkling of stereo seperation, and then kick mic ever so slightly, and not much snare mic... didn't bother micing the toms..they sounded great in the room.

It can be a really nice sound if you're going for that sort of thing. The results I got were really agressive, kind of big out of the gate.
 
Daisy said:
I just record voice ...

... and I'd like to know which mic would sound best for close-mic'ing my tonsils.

I want to make sure my tonsil track is separate from my molar track.

Oh yea ... and I also get way too much lip bleed on my left nostril track. Anyone got any ideas how to prevent that?

:D
Click to expand...

just swallow a PZM. You'll be good to go.
 
leddy said:
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.
Click to expand...

tact, man, tact. =) there are ways of getting that point across without being insulting.
 
pit a mic against a kick drum, and only a kick drum standing alone in a room and record it. Now build the rest of the kit around the bass drum and record only the kick mic again.....

Sounds way different right? Mic bleed is your friend./ I'll transform your mixes for sterile and "fake" sounding to a well gelled mix/performance.

I remember getting advice like that years ago and thinking, yeah...but I want to put reverb on the snare track and it's putting reverb on everything else when i do....... copy the snare track, gate the copy and process that one, leave the original snare track in the mix, it'll help glue everything together.

The best thing you can do is get out of the control room and stand in front of the kit and listen to how it sounds in the room. Take that sound in your head to the control room and see if they match...if they don't try moving your mics to get the desired sound. It's 90% mic placement and 10% processing that will get you the drum sound you want.

Alex
 
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