treymonfauntre
Magic Bag Of Sounds
if you're just named ex lifetime bands its "paint it black"
blink182 were pop punk, just with really really bad vocals and lyrics
blink182 were pop punk, just with really really bad vocals and lyrics
ace516
New member
Ok using drumagog isn't for wimps. watch .. if you don't want to "cheat" and your a NOT SO BIG BUDGET hot shot, you could go in the nice technique as follows: mic up the snare for example until you get a good sound. we're just doing the snare. record it and mix it and blah blah do your magic. THEN record the drummer with the rest of the kit just as if he was playing live. when you got your snare track recorded, compress and expand it and you know the rest, noise gate, dynamics processing blah blah. THEN with drumagog insert the first isolated snare sample mixed and ta da!! you got a nice snare instead of a track with other stuff bleeding in there. see, that's not cheating .. it's called low budget and not enough channels to mic for an amazing sound 
... but yeah, you still need to know how to mic place well as you will be doing that for the isolated track.
... but yeah, you still need to know how to mic place well as you will be doing that for the isolated track.
RezN8
Blick-um, blick-um...
Experiment...
I don't think you'd want to resort to samples after spending all that money on a great kit and decent mics.
For better results, try thinking of the drum kit as one complete instrument, rather than a bunch of seperate sounds. After tuning each drum to it's fundamental tone, try tweaking the drums so they sound in tune with eachother as well. Once again let me state for emphasis - the room you are recording will also be a major factor.
After tuning and tweaking your drums and room acoustics, then try this experiment. Have someone walk around the room while you're playing and listen for a spot in the room - high or low - near or far - where the kit sounds good and balanced. Place one of your condensor mics there. I think the C1 might be too bright for this, but the PG81 or KSM27 might do the trick.
Try recording just this mic on one track and your BD on another. You might have to tweak the position of the mic several times to find just the right spot.
When you find it, record it, and see what you've got so far. Try adding compression to both tracks and see what kind of results you get. Most of the "punk" music I hear these days seems to rely heavy on compression, but just the right amount. Too much and the cymbals will start sounding washy and your sound will crap-out real fast.
I would also dial up a small room reverb, season to taste, but not too much.
Once you get the hang of this, then start adding your other mics - one at a time.
I would swap out the SM57s you're using on the overheads for the PG81 and KSM27. Maybe use the PG81 as a single OH -- above your head facing down at the kit -- then use the KSM27 in front of the kit but raise it up a little higher to capture more of the kit without losing the fullness of the bassdrum. I don't know if this will get you the Blink sound you're looking for, but it probably will sound a lot fuller then what you're getting now.
If you're running low on the tracks, the first one I would give up is the mic under the snare. A good way to approach this is to have your overheads capture the full sound of your kit, then use the close mics for punch.
Gotta fly. Good luck and let us know how you make out.
Cheers, Rez
I don't think you'd want to resort to samples after spending all that money on a great kit and decent mics.
For better results, try thinking of the drum kit as one complete instrument, rather than a bunch of seperate sounds. After tuning each drum to it's fundamental tone, try tweaking the drums so they sound in tune with eachother as well. Once again let me state for emphasis - the room you are recording will also be a major factor.
After tuning and tweaking your drums and room acoustics, then try this experiment. Have someone walk around the room while you're playing and listen for a spot in the room - high or low - near or far - where the kit sounds good and balanced. Place one of your condensor mics there. I think the C1 might be too bright for this, but the PG81 or KSM27 might do the trick.
Try recording just this mic on one track and your BD on another. You might have to tweak the position of the mic several times to find just the right spot.
When you find it, record it, and see what you've got so far. Try adding compression to both tracks and see what kind of results you get. Most of the "punk" music I hear these days seems to rely heavy on compression, but just the right amount. Too much and the cymbals will start sounding washy and your sound will crap-out real fast.
I would also dial up a small room reverb, season to taste, but not too much.
Once you get the hang of this, then start adding your other mics - one at a time.
I would swap out the SM57s you're using on the overheads for the PG81 and KSM27. Maybe use the PG81 as a single OH -- above your head facing down at the kit -- then use the KSM27 in front of the kit but raise it up a little higher to capture more of the kit without losing the fullness of the bassdrum. I don't know if this will get you the Blink sound you're looking for, but it probably will sound a lot fuller then what you're getting now.
If you're running low on the tracks, the first one I would give up is the mic under the snare. A good way to approach this is to have your overheads capture the full sound of your kit, then use the close mics for punch.
Gotta fly. Good luck and let us know how you make out.
Cheers, Rez
P
perfectedge05
New member
Getting the best sound comes with experience!
I've been recording for a number of years now, and I always get a great sound from my drums or someone elses kits. I DO NOT use samples!!!
The best thing for an engineer to do is get the experience by recording and fooling around with the sound...OH YEAH - invent your own sound if you can!
I've been recording for a number of years now, and I always get a great sound from my drums or someone elses kits. I DO NOT use samples!!!
The best thing for an engineer to do is get the experience by recording and fooling around with the sound...OH YEAH - invent your own sound if you can!