Kick And Snare Problems

  • Thread starter Thread starter James21
  • Start date Start date
Well, stating the obvious here: the triggers are delayed and the panning is crazy. Kinda hard to get an idea of where your at with all that. Not sure how you line that stuff up in Protools or what it is you are using for triggers, but I would fix that first, then pan the overheads wide and center the hh some.
 
how do i get the triggers to be less delayed?? My inputs are well... limited. I have two overheads on left and right. Then a snare, hi tom, low tom, and kick mic. the kick is a tad right like 5, the snare a tad left 10, hi tom left 5, low tom, right 40. overheads full 100 left and right.

I got the tip from some guy, talking about how you get more definition if you utilize the panning and pan kick and snare opposite and leave center for bass guitar. the overheads suck in this recording. I know.
 
Worry about moving the kick and snare later-if ever. Keep them in the middle. Get those overheads balanced. I can barely hear any oh on the right. As far as the delay is concerned, someone with Protools knowledge will have to answer as I haven't a clue.
 
Put the kick and snare in the middle. The panning trick if for old school rock, not double bass madness. If you are using the LE version of protools, it doesn't have plugin delay compensation. That means that it doesn't compensate for the amount of time it takes your plugins to do what they are doing. So you have to manually nudge the audio track back by the amount of delay the plugins create. It's got to be in the manual somewhere.

Also try adding a high pass filter before the sound replacer, it will help get better triggering.
 
Ok, That's what i was thinking of doing. I'm guessing it's only off but about 20 or 30 MS cause it's just barely off.

I can add in a high pass before. Right now it's: Trigger, Compression, Eq i've been trying to quantize the drums with the warp tool and what not, but it's very frustrating.
 
Are all the cymbals being hit on the same side of the kit? If they are, you might want to pan the overheads more towards the middle. It really makes the drums sound lob-sided having all the cymbals loud as hell on the one side.

If the cymbals are on both sides, there is something wrong with the overhead placement and/or mix.
 
James21 said:
Ok, i take it i would have to download a phase checking plug? any free ones out there? and one that would reverse it for me?
Click to expand...

you might already have one, logic and alot of other DAWS come with a utility plug in. Use your ears for sure.
 
I assume you have tried re-positioning them? Or pointing them at the reso head?
 
Well the drummer mainly plays the cymbals on the right side of his kick. and he occasionally hits the high hats so when you say it's lop-sided i guess it's because he doesn't go to the high hats much. Should i try and keep the over head center?

Do the sounds of the instruments sound ok?
 
Well the drummer mainly plays the cymbals on the right side of his kick. and he occasionally hits the high hats so when you say it's lop-sided i guess it's because he doesn't go to the high hats much. Should i try and keep the over head center?

Do the sounds of the instruments sound ok?
 
I'm hearing a strange flamming on the snare. It could be a delay between the snare sample and the snare in the overheads. (It could just be some goofiness in your room)

The overheads sound more balanced.

The toms are kind of dead and muddy. Add some 5k and take out some 900 hz.

The snare sounds a little dead and far away. Brighten it up and add some crack around 2k.
 
I'm not anyplace where I can listen.

Bleed is just part of life when close micing drums. Most of the control comes from the drummer. If he is playing with proper dynamics, it normally isn't much of an issue. For example, he can't be beating the crap out of an open hi-hat and gently tapping on the snare drum and expecting you to turn up the snare mic to make the mix right. It can't happen like that, there will be more hat in the snare mic than snare. Same goes with all the individual drums. If he beats the tar out of the snare and barely touches the toms, there won't be much you can do to fix that in the mix.

Noise gates come in handy when you are going for drum sounds that need a crap-load of EQ and compression.
 
When getting cymbals is it better to use two over heads or mic each cymbal? or at least pairs depending on the drummers setup?
 
Two is good. You can mic all of them but prepare for a phase nightmare.
 
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