Two track stereo drum recording.

  • Thread starter Thread starter Rusty K
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RAMI said:
I thought it was purple too. But, then some chick told me it was Fucsia, or one of those girl-ass colors that men can't even detect.
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Yeah, what's the fucking deal with that? There's purple, light purple and dark purple. That's it. Mauve? Fuscia? Violet? Heliotrope? WTF? Heliotrope??
 
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legionserial said:
Mauve? Fuscia? Violet? Heliotrope? WTF? Heliotrope??
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Yeah, those aren't colors, they're "feelings". Even there, I;ve only got 3. I'm either tired, hungry or horny. And always at least 2 of the 3 at any one time. That's it.
 
legionserial said:
Yeah, what's the fucking deal with that? There's purple, light purple and dark purple. That's it. Mauve? Fuscia? Violet? Heliotrope? WTF? Heliotrope??
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Hey, you forgot shades of deep purple in rock, lilac and lavender.......




WooF !
 
grimtraveller said:
Hey, you forgot shades of deep purple in rock, lilac and lavender.......
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They're all fucking named after flowers! What the hell is the point?! :laughings:

What's next, naming various shades of green after various different shades of marijuana plants? :laughings:

What about shades of brown? We could have 'healthy', 'solid', 'slurry', 'nutty', and 'daiper'. No?
 
Rusty K said:
...I'm just wanting to know questions like what type of compression/limiting to apply with one track stereo drum mix. I realize things will change when the mix starts coming together but I just need a starting point with the drums. I also realize that with a single stereo track I am limited in the processing that I can apply.
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The only suggestion that makes any sense IMO is to tell you to just try out some different comp settings on the drums-only stereo track and see how they affect it...get some hands-on ideas on what the comp can do to it. That's the way to start.
Once you pull up all the other tracks...it's going to change, and it WILL be different and the type of music WILL make a difference. That's why it makes no sense to talk about comp setting for JUST the drum track without hearing things in context…and without knowing what YOU are after sound-wise. :)
Giving you a set of numbers (out of context) is silly and a disservice to you.

Also...comp settings are one of the harder things to learn AFA processing/FX. I use to read articles where people would toss out all kinds of "go-to" settings for particular things ("For XYZ tracks, I usually apply light compression with a Ratio of 2:1, Attack at .03 sec with a long Release of 2 sec....blah, blah, blah"). While it seemed like the person was giving out key info...it was all just gibberish.
What worked for me to get a handle on what/how a compressor functions, was simple experimentation while listening to the processed/bypassed source.
Back-n-forth...change a few things...listen some more...etc...etc....then repeat the same process while hearing that source within the context of the whole mix...back-n-forth.

If you just want numbers, check out the presets of any DAW compressor plug-in...there's often some descriptive name associated with each preset...like "Punchy Drums" or "Snappy Snare”…. ;)
 
shorttonpro said:
Agree with the above about hearing it in context, But if I get a stereo drum track and want it to sound more like a fully mic'ed kit I do somethings that could maybe give you ideas.

-tab to transient drum replacement. Go through the entire track tabbing to each snare, kick, and tom hit, place a transient on a new track and then add samples to those. Then you've got individual control over each drum.

-Create some kind of artificial room track and send everything to it till it sounds most like a room. Compress and eq to taste and blend.

-If your going to use mainly the sampled drums with the old stereo track as over heads, high pass the overheads and compress a touch

-Use a drum sub to blend all of the above tracks and possibly use some parallel compression and eq to beef up the sound a bit
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This is good...I did take the time to get samples of each piece of the drum kit... I've never done this before but I'll look into it.
 
RAMI said:
Yeah, those aren't colors, they're "feelings". Even there, I;ve only got 3. I'm either tired, hungry or horny. And always at least 2 of the 3 at any one time. That's it.
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Of those three emotions, the only one I'd want near my mix would be "horny". If I were doing commercial jingles I might use the other two. :D
 
Rusty K said:
Take it to the Cave. :mad:
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No man. This isn't Cave material. This is people giving their opinion. And, believe me, the most helpful posts in this thread aren't the ones you think they are. But, knock yourself out. I find it all very amusing.:)
 
I hear the train a comin'
It's rolling 'round the bend
And I ain't seen the sunshine since I don't know when,
I'm stuck in Folsom prison, and time keeps draggin' on
But that train keeps a rollin' on down to San Antone...

:)
 
miroslav said:
The only suggestion that makes any sense IMO is to tell you to just try out some different comp settings on the drums-only stereo track and see how they affect it...get some hands-on ideas on what the comp can do to it. That's the way to start.
Once you pull up all the other tracks...it's going to change, and it WILL be different and the type of music WILL make a difference. That's why it makes no sense to talk about comp setting for JUST the drum track without hearing things in context…and without knowing what YOU are after sound-wise. :)
Giving you a set of numbers (out of context) is silly and a disservice to you.

Also...comp settings are one of the harder things to learn AFA processing/FX. I use to read articles where people would toss out all kinds of "go-to" settings for particular things ("For XYZ tracks, I usually apply light compression with a Ratio of 2:1, Attack at .03 sec with a long Release of 2 sec....blah, blah, blah"). While it seemed like the person was giving out key info...it was all just gibberish.
What worked for me to get a handle on what/how a compressor functions, was simple experimentation while listening to the processed/bypassed source.
Back-n-forth...change a few things...listen some more...etc...etc....then repeat the same process while hearing that source within the context of the whole mix...back-n-forth.

If you just want numbers, check out the presets of any DAW compressor plug-in...there's often some descriptive name associated with each preset...like "Punchy Drums" or "Snappy Snare”…. ;)
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I've never tried recording live drums. I've mostly used canned drums to flesh out my tracks at home. This is a first and I use an Apogee Duet so I only had two inputs...thus the stereo track. The track is good but sounding a little light or thin for rock n roll. Since posting I've tried a couple of the presets in Logic and they definitely helped fatten the sound. I'll just have to see how the rest of the song goes. I'm cutting guitar on Friday.
 
Rusty K said:
The track is good but sounding a little light or thin for rock n roll. Since posting I've tried a couple of the presets in Logic and they definitely helped fatten the sound. I'll just have to see how the rest of the song goes. I'm cutting guitar on Friday.
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Then wait until you get a few more tracks recorded before making any decisions about deliberate processing of individual tracks.
Hey...maybe they need just a touch of "something" or maybe you will need to re-track the drums to get them beefy rather than slathering on processing as a correction tool...but hearing them alone, I wouldn't make any decision just yet (unless you already think they totally suck, in which case re-record them).
 
RAMI said:
No man. This isn't Cave material. This is people giving their opinion. And, believe me, the most helpful posts in this thread aren't the ones you think they are. But, knock yourself out. I find it all very amusing.:)
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I'd suggest dialing the threshold up on your amuse plugin. ;)

Mount Rushmore on the Canadian side.
 

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Rusty K said:
I'd suggest dialing the threshold up on your amuse plugin. ;)

Mount Rushmore on the Canadian side.
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Talk about having to take something to the Cave....If someone makes more sense then you're capable of comprehending, attack where they come from. Gee...that's not a cop out. :laughings::laughings::laughings:

You asked a stupid question and then didn't understand half the answers. Congratulations. You just won the buffoon of the month award.:D
 
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