OK, is this just plain stupid???

[NL5]

Here is a sample I did where I really didn't try and minimize bleed as much as I could have (we just thru the mic on the snare and hit record - it was for a scratch track - we also didn't take the time to get the best snare sound, but it shows that the bleed can be well over 20db less than the snare hits, making gating a snap.) -

Here it is with a couple plugs and ZERO bleed -

 

[Dogman]

Here is a sample I did where I really didn't try and minimize bleed as much as I could have (we just thru the mic on the snare and hit record - it was for a scratch track - we also didn't take the time to get the best snare sound, but it shows that the bleed can be well over 20db less than the snare hits, making gating a snap.) -

Here it is with a couple plugs and ZERO bleed -

Cool...

 

[RAMI]

Awesome, NL......Thanx for the pics and the clips. Great examples. I guess I'm not setting up the mic for maximum isolation from the hats. Like I said, it has never bothered me too much, but it's nice to know that I can get rid of more hats if I need to,


But the basecall cap looks so cool.

 

[NL5]

But the basecall cap looks so cool.

You can't forget the MOJO factor!

 

[Dogman]

Awesome, NL......Thanx for the pics and the clips. Great examples. I guess I'm not setting up the mic for maximum isolation from the hats. Like I said, it has never bothered me too much, but it's nice to know that I can get rid of more hats if I need to,


But the basecall cap looks so cool.

You always have a killer drum sound, so whatever you do, is working.

 

[NL5]

You always have a killer drum sound, so whatever you do, is working.

I agree 100%

 

[RAMI]

Thanx guys...there's always room for improvement. That's why I ask for more advice than I give at this point.

 

[jmorris]

Of course there is always a noise gate.

 

[NL5]

Of course there is always a noise gate.

That won't work if the hats are louder than the snare though. Especially if there are a lot of "ghost" notes. Even with a gate (which I do use), the more difference in level between the snare and the hats, the easier it will be to get the gate working properly.

And, yes, I have had tracks brought to me where the HH's weer louder than the snare IN THE SNARE TRACK!

 

[RAMI]

I'd never use a noise gate on the snare. It doesn't work for a drummer that uses alot of ghost notes, etc...the softer notes either don't make it past the gate, or the gate has to be set high enough to let the ghost strokes through....which means it's opening up for other things (like high hats). Gate-opening leakage is even worse than just a steady leak coming through all the time.

Excuse me, I need to take a leak....I'll be back.

 

[mixsit]

Here is a sample I did where I really didn't try and minimize bleed as much as I could have (we just thru the mic on the snare and hit record - it was for a scratch track - we also didn't take the time to get the best snare sound, but it shows that the bleed can be well over 20db less than the snare hits, making gating a snap.) -

Here it is with a couple plugs and ZERO bleed -

NL5, how did you get that from the raw tone on #1? That's pretty cool. I've never gotten anything like that from a close-head sound to what sounds like the natural sounding snare wires -short of drumadog anyhow.
Wayne

 

[Bulls Hit]

Rami just wondering if you ever mic'd the snare from the other side, as in running your mic boom between the toms. This would move the 57 further away from the hats. They reckon whenever you double the distance from the mic, the signal drops by 6db. If you moved the mic to the far side of the snare, it could cut hat bleed by maybe 8 or 10db

 

[NL5]

NL5, how did you get that from the raw tone on #1? That's pretty cool. I've never gotten anything like that from a close-head sound to what sounds like the natural sounding snare wires -short of drumadog anyhow.
Wayne

It's just my amazing ability!

No, that track was just thrown together, and I usually would blend the top and bottom mic, and get a good %50 of the snare sound from the OH's as well. But, in this little demo, I just drumagogged it (which also acts as a gate) - since it is a solo track, and not an entire kit. I normally approach a drumkit more as a single instrument, getting a LOT of the sound thru the OH's.

 

[ecktronic]

I think what I'm doing with the cap is just a little bit of insurance. Whtether it makes a diff or not, I'm not sure.

Well you could always test out your baseball cap shield idea!
Try without and try with and A/B. Pretty straight forward Rami.

Eck

 

[mixsit]

It's just my amazing ability!

No, that track was just thrown together, and I usually would blend the top and bottom mic, and get a good %50 of the snare sound from the OH's as well. But, in this little demo, I just drumagogged it (which also acts as a gate) - since it is a solo track, and not an entire kit. I normally approach a drumkit more as a single instrument, getting a LOT of the sound thru the OH's.

Drumadog!?
Well I won't feel quite so... after all.

 

[RAMI]

Rami just wondering if you ever mic'd the snare from the other side, as in running your mic boom between the toms. This would move the 57 further away from the hats. They reckon whenever you double the distance from the mic, the signal drops by 6db. If you moved the mic to the far side of the snare, it could cut hat bleed by maybe 8 or 10db

Hey Bull...Yes, I've tried having it come in from the other side. But then I get more hat, because, even though it's a little further away, it's pointing at them in that position.

I actually played around with the positioning a but today, and ended up having the mic placed more like how NL5 suggested. It worked great for the hats, they're almost not there. Prroblem is, now I find I get the toms coming into me snare mic more.
But none of that slight leakage really bothers me, which is probably why I just threw the cap on there one day and never spent alot of time trying to toally isolate each mic.

Great advice in this thread, though. Thanx.