Downside Studio
New member
It indeed totally depends on the recording. If enough mics/tracks are available just mic it and decide in the mix wether you might need it or not. I personally use the close mic for the ride a lot.
Farview
Well-known member
AJFA was just done badly. On the black album, even though there were more room mics involved, the close mics were the bulk of the sound. I can hear the gates opening and closing. There are also samples layered in with everything else. Those drums had to have 24 mics on them, then they were edited, then processed, then layered with samples. I don't think it is really a question of getting the sound from the overheads vs. close mics.Cloneboy Studio said:
C
Cloneboy Studio
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I understand your point and agree, but there is much greater of a room/overhead sound than on previous Metallica albums.
D
darnold
New member
I mic it anyway just because i have the tracks. I would rather have it there than not have it on mixdown if i needed it.
But if i was limited to say 8 tracks i probably would mic the hi hat or underside of the snare before i did the ride.
Danny
But if i was limited to say 8 tracks i probably would mic the hi hat or underside of the snare before i did the ride.
Danny
Tom Hicks
Well-known member
wishtheend said:
The closer you get to a wall, the more the reflection off the wall will overpower the direct signal. Bass hides in corners and edges where surfaces come together at right angles. Other than trial and error, wearing headphones while you move the open mic while the drums are playing is a good way. Small diaphragm condensors will respond to fast drum transients quicker. Omnis will have less coloration on a room, and large diaphragm condensors will give a bit of bass boost.
Think of mics like using EQ and select according to the needs of your particular room.
C
chadsxe
New member
I am having the same issues. The drummer I am recording loves Chris Alder from Lamb Of God. I have been listening to there latest album "Ashes of the Wake" and I as far as I can tell most of the kit was triggered. The thing that stricks me though is how loud and clear the ride is. Anyways, the kit I am going to record has a crash and china floating over the ride. This makes it hard for me to pick up a good clean ride/bell sound. I only have 8 tracks to work with so I am kind of torn between a couple diffrent setups.
He also has 2 diffrent snares that he uses at the same time.
I am thinking of telling him to ditch the second snare so I can free up an extra track. Then I will later cut and paste the proper parts to a new snare track and trigger that with a new snare sound. So this leaves me with
Tom 1, Tom 2, Floor Tom, Snare, Kick, OH R, OH L,
and one extra track which can be used for the ride, hats, or room. As of now I am leaning towards the ride because of how buried it gets. Any suggestions....
He also has 2 diffrent snares that he uses at the same time.
I am thinking of telling him to ditch the second snare so I can free up an extra track. Then I will later cut and paste the proper parts to a new snare track and trigger that with a new snare sound. So this leaves me with
Tom 1, Tom 2, Floor Tom, Snare, Kick, OH R, OH L,
and one extra track which can be used for the ride, hats, or room. As of now I am leaning towards the ride because of how buried it gets. Any suggestions....
D
darnold
New member
If you have a mixer you could try bussing the overheads and buss the ride, hi hat, and even snare bottom into the overhead stereo mix. Just make sure you get it right the first time. Just give it enough so they have enough oomph and arnt buried. I would low cut them at say 200-300hz though if possible though. Can be a pain in the butt especially if you dont get it right the first time. But this is assuming too that you have a mixer that you can buss with.
Or you can even do a stereo bussing with the toms. You could put one hard left, one in the middle, and one on hard right and try and seperate them out later on mixdown. Or you could just try and get it there in the buss the first time. Shouldnt be too hard if the toms are tuned close to where you can use similiar EQ on all of them.
If you do both of these bussing then that will free up 2 tracks for whatever you want. You can now add the other snare, and a room mic into the mix. or you can take the ride out of the stereo OH buss and put it on its own channel and leave the room mic out.
I bet your client wont be too happy if you make him cut his second snare out. Thats part of his music and his set.
Danny
Or you can even do a stereo bussing with the toms. You could put one hard left, one in the middle, and one on hard right and try and seperate them out later on mixdown. Or you could just try and get it there in the buss the first time. Shouldnt be too hard if the toms are tuned close to where you can use similiar EQ on all of them.
If you do both of these bussing then that will free up 2 tracks for whatever you want. You can now add the other snare, and a room mic into the mix. or you can take the ride out of the stereo OH buss and put it on its own channel and leave the room mic out.
I bet your client wont be too happy if you make him cut his second snare out. Thats part of his music and his set.
Danny
