Reduce bleed w/ Aurelex foam?

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C_flat

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I'm recording a 4-piece blues-rock band live in the basement, 8 tracks simulteaneously with a Yamaha AW16G.

I've got the amps spread out & close-mic'd with SM57's, but my biggest problem is all the bleed into the MXL-603's I'm using as overheads on the drums (XY setup, just over the drummer's head)

Have any of you tried using acoustic foam like that shown in this kit from Aurelex?

xp_3lr.jpg


The Aurelex "Xpander" kit:

http://www.auralex.com/sound_isolation_xpanders/sound_isolation_xpanders.asp

Do you think they would help reduce bleedover?

Thanks,

Cb
 
I may be doing some recording very similar to this soon, so I would like to know as well.
 
Reduce bleed in your OH's from amps in the same room?

Not a chance.

Looks like it could save a snare mic from taking a whack, though.

If you are recording amps and drums simultaneously in the same room, you're gonna have bleed- period. If you must record simultaneously, and you must record in the same room, I suggest you use a POD(or equivalent) and run a headphone mix for everybody. You can always re-amp the signal later.
 
Those foam pads will knock down the treble a few db from off axis sources, but it won't do crap for mid or bass frequencies. You might be able to point the amps at the wall and gobo around them, but it'll still going to bleed pretty significantly. If you're going for a live feel and if the band is tight, let it bleed. If you plan on editing a lot later, do what supercreep said about the amp modeller and reamp later.
 
If you want to eliminate amp bleed, put 'em in another room and monitor them on cans. Or build a little amp iso box if you don't have another room. Or aim the amps away from the overhead mic.

I would guess to be effective, that foam piece would have to be much larger. Low and even mid frequency waves will just go around it, or in the case of low frequency waves, through it. Also if you block sound from entering the rear of the mic, you can actually make off-axis sounds louder.
 
You could try arranging the amps at right angles to the drums, or pointing away, as well as keeping the volume down. Maybe setting up some partitions, or even hanging blankets. If its blues rock, bleed wont kill the recording, you want it to have a live natual sound.
 
I like to record live and fought against bleed for ever. Instead of trying to achieve the impossible, I let it happen and adjusted for it. I had a big problem with the drums leaking in to the upright bass mic. I kept putting them further away, and the problems got worse due to the time delay between the mics. I put them closer, got rid of the delay issues, chose the best mics I could and got great, natural sounding results. Very slight EQ adjustments to cut some overlapping frequencies and it sounded pro.
 
Thanks for the replies. I guess the overheads are going to hear everything the drummer hears, and he's wearing earplugs...

Cb
 
My compromise solution was to keep the two kit mics low and as tight as practical on either side of the drummer, about elbow level more or less, with gobos along either side. It's about as dry and tight in as you can get and plays up the skins, plays down the cymbals -except the hat. You'd still apply equal centering to the snare/kick as much as possible just like in the 'Three Mic' thing, maybe rotate the triangle some away from the hat and toward the floor tom.
Pan them in some.. maybe.
But definitely Have Fun. :D
Wayne
Ps; I did a plastic/foam lined shield for the snare. It helps just enough to make it worth the hassle, but not much more unfortunately. :)
 
mshilarious said:
...I would guess to be effective, that foam piece would have to be much larger.
I was thinking the same on the thickness being mostly transparent, and if it had a hard backing at least it would reflect rear entry sound.

... Also if you block sound from entering the rear of the mic, you can actually make off-axis sounds louder.
But I never saw this angle before. Interesting call.
Wayne
 
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