Firestudio w/Nuendo 2

[smoothwombat]

I recently started recording some tracks using a Firestudio and Nuendo 2 (out-of-date ... I know). Drums went well until I got to the cymbals and HH. Levels on the firestudio for the two overhead condensors capturing the cymbals and one SM57 capturing the HH were just below clipping (in the yellow). Levels in Nuendo however were barely visible. I thought well, I could bring them up later in the mix. This was the first problem.

Additionally, the snare bleed over into the two condensors and the SM 57 is tremendous. Whereas toms will barely register a signal on the tracks set with three mics in Nuendo (probably due to their frequency), the snare is off the charts with all three. I thought well, it must be the frequency issue so I tuned the snare to an almost identical tone to one of the toms and still, off the charts with all three mic track levels in Nuendo. I have also repositioned all three mics at multiple angles and in multiple positions but still no luck.

With both problems together the result is three cymbal tracks that cannot be brought up in the mix later because the snare is so loud on all three tracks.

Any suggestions would be greatly appreciated.

 

[RAMI]

Your overheads SHOULD capture the snare. They shouldn't be treated as "cymbal mics". Overheads should give you most of your drum-set sound. You bring in the snare mic to enhance, same with the kik. In fact, if given the choice, I'd mic the kik before I miced the snare for the exact reason that you think you have a problem: Overheads pick up a lot of snare, but not a lot of kik (usually). The LAST place I'd put a 3rd mic is on the hi-hat.

I would recommend reading up on drum micing techniques to get ideas of how to configure your overheads.

 

[smoothwombat]

Would applying a high pass after recording bring out more of the cymbals from the two overhead/condensor tracks? I know that most snares can fall somewhere in the 600-1000 range but due to the low tone I tuned the snare to it might very well fall somewhere else.

I did play around with a few equalizer settings and the result was too much high end cymbal hiss with the attack of the snare turning into a overload of highs on each of tracks.

 

[RAMI]

Forget about trying to fix it with EQ. It ain't gonna happen.


Did you even read my post? You're going about it the wrong way.

Just trying to help you, man.

 

[smoothwombat]

Thanks for the feedback. I guess you're right, it's back to the basics. I was just trying to think of things that might allow me to salvage the tracks. What might be some good spots for placing the two condenser mics btw? I've tried the following:

-crossed 2 and 3 feet above the kit facing opposite directions
-3 to 5 feet over the kit facing inward (mainly toward the cymbals) at 135 degree angles
-directly above the kit pointing from front to back

I am also running each of the condensor mics as "mono in" in nuendo.
Would I achieve better results if they were ran as stereo L on one track and stereo R for the other?

 

[JimmyS1969]

IME, it has worked best pointing each overhead at the snare. One above the hi-hat, the other equidistant from the snare on the other side. In essence, I am really miking the whole kit by aiming at the snare in the overheads from a distance (invert polarity). Cymbals just happen to be picked up this way, and is usually sufficient. A snare drum will inevitably be picked up in any mic, but the overheads are where the 'sweetness' is achieved for the whole kit. Trying to treat overheads as just cymbals is one way to get to a result, but that is a technique that will usually involve replacement/supplement of close mic'd drums with samples that include room sounds. Since you are using Nuendo 2, I can only assume you do not have the money or desire to purchase drum replacement software capable of this.

Mono in for each mic is pretty much the only way. Stereo buses are only used for recording devices with 'true' stereo outputs.

Dynamic mics are typically used on toms mounted above the snare to help with bleed through. Condensers do work very well on floor toms where they can be aimed at the head without as much snare getting through.