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Post by mrholmes on May 12, 2019 3:14:25 GMT -6
RGOs.
I am happy that I learned -over the years- how to deal with drums, not to forget to mention that it was a good lesson seeing how fearles some pro AE treat drums. Priceless.
I never was a big fan of fast decissions, but that is what counts to finish a song - in modern DAW days -.
Here is what makes me unhappy all the time....
Kick in OH and Room mics. The rest is nice, the snare has height and everything sounds open and wide. A cool drum sound and the instruments - hit in nice.
Eqing the kick out of OH and RM sounds stupid to me. Replacing with a sample sounds detatched from the rest.
How about just a little bit kick in OH and RM maintaing the natural room sound.
Any hint is welcome....
THX HOLMES
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Post by theshea on May 12, 2019 3:46:06 GMT -6
i personally don't "mix" the kick in the OH and RM. i simply apply a locut and how much i cut depends on the song and how much sounds good. i do this with all the music playing, not soloing OH or RM channels. so, yeah, i am more a fan of the natural sounding kick in the OH and RM. a few times, but really not often i insert a compressor with the kick in the sidechain.
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Post by stormymondays on May 12, 2019 3:53:46 GMT -6
My starting point is usually to get a full drum sound from the OH, and then supplement with the close mics. That means I eq the OH as if they were my only drum mic, for the best sound I can possibly get out of them. Boost the lows and highs, cut boxy midday, etc.
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Post by the other mark williams on May 12, 2019 8:13:26 GMT -6
If I'm using something like Superior Drummer, I will often reduce the level of the kick in the OHs and room, but I don't usually eliminate it entirely. I keep more in the OHs than the room. If I'm looking for a roomy sound, I will sometimes compress the fool out of the room mics and blend that in for a parallel thing, and that always brings up the attack on the kick, which sometimes I like and sometimes I don't, which is why I often dial back the kick in the room mics.
If it's a drum kit that I personally record, I'm rarely in a good enough room to slam the room mics. If I have a good enough drummer who can balance his own kit when playing (and there's one drummer I play with and record a lot who's able to do this), I often just use the OH mics and the kick mic for a 3-mic technique.
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Post by sean on May 12, 2019 8:25:41 GMT -6
It really depends on how boomy the low end in the overheads sounds as to weather I EQ it out of not. Sometimes it’s just too open or boomy sounding and takes away from the punch when the song calls for a tighter kick sound.
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Post by pope on May 12, 2019 8:26:23 GMT -6
Have you tried inverting the polarity of the kick?
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Post by swafford on May 12, 2019 10:30:45 GMT -6
RGOs.
I am happy that I learned -over the years- how to deal with drums, not to forget to mention that it was a good lesson seeing how fearles some pro AE treat drums. Priceless.
I never was a big fan of fast decissions, but that is what counts to finish a song - in modern DAW days -.
Here is what makes me unhappy all the time....
Kick in OH and Room mics. The rest is nice, the snare has height and everything sounds open and wide. A cool drum sound and the instruments - hit in nice.
Eqing the kick out of OH and RM sounds stupid to me. Replacing with a sample sounds detatched from the rest.
How about just a little bit kick in OH and RM maintaing the natural room sound.
Any hint is welcome....
THX HOLMES
My hint would be to EQ it, or not, so it sounds good to you. I have a drummer I play with who's kick always sounds fantastic in the OH (or room) another drummer that I generally HPF most of it and bring the kick mic up. Two different kits, two different drummers, two different sounds, at least two different approaches. If you own your kit that is always in use (I have my own, but drummers generally like to use their own - mostly because mine's a 26x10 and they are "like wtf is that?" I usually insist on my snare and cymbals, though) tweak it - tune the drum, tune it differently, with a resonator head, without one, with a hole in the resonator, without a hole, a pillow inside, a bag of backing peanuts, a blanket, a dead dog, a live baby, replace the hoops, replace the hardware, do whatever it tells you it needs so it plays nice with the rest of the kit then tweak your OH mics - change the position, different mics, different arrays, etc. so it captures the sound you want. Try a mono OH or FOH, etc. Then EQ it if needed. Sometimes you beat a kit into submission and sometimes it's easy. As someone famous said a lot of times, "whatever works."
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Post by the other mark williams on May 12, 2019 11:08:42 GMT -6
RGOs.
I am happy that I learned -over the years- how to deal with drums, not to forget to mention that it was a good lesson seeing how fearles some pro AE treat drums. Priceless.
I never was a big fan of fast decissions, but that is what counts to finish a song - in modern DAW days -.
Here is what makes me unhappy all the time....
Kick in OH and Room mics. The rest is nice, the snare has height and everything sounds open and wide. A cool drum sound and the instruments - hit in nice.
Eqing the kick out of OH and RM sounds stupid to me. Replacing with a sample sounds detatched from the rest.
How about just a little bit kick in OH and RM maintaing the natural room sound.
Any hint is welcome....
THX HOLMES
My hint would be to EQ it, or not, so it sounds good to you. I have a drummer I play with who's kick always sounds fantastic in the OH (or room) another drummer that I generally HPF most of it and bring the kick mic up. Two different kits, two different drummers, two different sounds, at least two different approaches. If you own your kit that is always in use (I have my own, but drummers generally like to use their own - mostly because mine's a 26x10 and they are "like wtf is that?" I usually insist on my snare and cymbals, though) tweak it - tune the drum, tune it differently, with a resonator head, without one, with a hole in the resonator, without a hole, a pillow inside, a bag of backing peanuts, a blanket, a dead dog, a live baby, replace the hoops, replace the hardware, do whatever it tells you it needs so it plays nice with the rest of the kit then tweak your OH mics - change the position, different mics, different arrays, etc. so it captures the sound you want. Try a mono OH or FOH, etc. Then EQ it if needed. Sometimes you beat a kit into submission and sometimes it's easy. As someone famous said a lot of times, "whatever works." LOL "a dead dog, a live baby"
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Post by swafford on May 12, 2019 12:47:10 GMT -6
LOL "a dead dog, a live baby" Whatever works, man.
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Post by Tbone81 on May 12, 2019 12:53:08 GMT -6
I think this is very genre/song specific. Some styles call for a more natural drum sound while others (like metal) call for a heavy amount of filtering and “natural” isn’t even desired.
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Post by matt@IAA on May 13, 2019 19:17:31 GMT -6
My starting point is usually to get a full drum sound from the OH, and then supplement with the close mics. That means I eq the OH as if they were my only drum mic, for the best sound I can possibly get out of them. Boost the lows and highs, cut boxy midday, etc. when I started doing this my mixes got better. +1
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Post by svart on May 13, 2019 19:18:45 GMT -6
HPF.
Why make it overly complicated?
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Post by mrholmes on May 15, 2019 2:00:04 GMT -6
I think this is very genre/song specific. Some styles call for a more natural drum sound while others (like metal) call for a heavy amount of filtering and “natural” isn’t even desired. This was the best hint to my ADD brain. Thnk you, becasue I was not sure which way to go. The beginning of the song has some kind of an acoustic / electric approach which turns into a modern rock sound. Eqing the overhead sounds wrong for both. In the end I went with replacing the Kick thats the best compromise. THX to the great RGO community.:-)) Holmes...
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