|
|
Post by copperx on May 25, 2024 17:19:50 GMT -6
I've been recording a band and ran into a tricky issue with the drums. The drummer has this habit of playing the kick drum slightly ahead of the hi-hat. The band wants the drums to sound more even, so I'm trying to edit them, but I'm not sure how to handle this. When I line up the kick drum to the beat, the hi-hat sounds late. If I put the hi-hat on the beat, the kick sounds off. Re-recording or replacing the drums is a last resort for now. Has anyone dealt with something like this before? Any tips or tricks to fix it? I've attached a video to show what I'm talking about. Thanks!
|
|
|
|
Post by Ward on May 25, 2024 17:29:39 GMT -6
I deal with this every day. I've learned to fix it. I provide this service for a fee.
|
|
|
|
Post by tkaitkai on May 25, 2024 17:51:36 GMT -6
Filter out ALL of the lows and low mids from any cymbal mics (i.e. OHs, rooms, rides, and hat mics), and filter out ALL of the high end and upper mids from the kick mic. This should give you much more freedom to move them around independently.
You will probably need to heavily gate the kick, snare, and toms as well. Once you’re satisfied with the time alignment, augment with samples. You can also play around with sidechaining the kick to the cymbal mics and ducking the hat every time the kick hits. Experiment with sending the kick pre and post time alignment.
You can also go through the performance and find sections where he’s in time and literally just cut and paste 1 or 2 bars as many times as you can get away with. If you want to get even more granular, you can find two or three kick+hat hits that are actually in time and replace every kick+hat with those round robin style.
If none of that works, just program the drums and save yourself the headache.
|
|
|
|
Post by copperx on May 25, 2024 18:23:05 GMT -6
Filter out ALL of the lows and low mids from any cymbal mics (i.e. OHs, rooms, rides, and hat mics), and filter out ALL of the high end and upper mids from the kick mic. This should give you much more freedom to move them around independently. You will probably need to heavily gate the kick, snare, and toms as well. Once you’re satisfied with the time alignment, augment with samples. You can also play around with sidechaining the kick to the cymbal mics and ducking the hat every time the kick hits. Experiment with sending the kick pre and post time alignment. You can also go through the performance and find sections where he’s in time and literally just cut and paste 1 or 2 bars as many times as you can get away with. If you want to get even more granular, you can find two or three kick+hat hits that are actually in time and replace every kick+hat with those round robin style. If none of that works, just program the drums and save yourself the headache.
Thanks for the detailed response! I had thought about treating each drum as a separate track and aligning them, but I've spent quite a bit of time getting an ambience Albini-style with a Blumlein pair in front of the kit, two overheads, and two boundary room mics. So, I was really hoping to find a solution that preserves the signal in the other mics. The copy/paste idea is brilliant, though. I'll definitely give that a try. |
|
|
|
Post by bgrotto on May 25, 2024 18:35:29 GMT -6
Happens all the time. Most drummers flam limbs.
Move the late thing earlier, or move the earlier thing with enough pad to prevent “pre ring” type effects.
|
|
|
|
Post by ragan on May 26, 2024 0:35:59 GMT -6
Use ‘warp’ as much as you can get away with. Leave cymbal crashes alone for a 1/2 bar or so until the crash decays enough that the warp mangling isn’t very audible. For crashes where it doesn’t work, find the least bad version of a crash hit in the track and copy paste it in.
|
|
|
|
Post by smashlord on May 26, 2024 11:58:38 GMT -6
If the problem is only the kick drum, HPF the overheads and rooms to remove the kick, replace the kick with samples (hopefully you have some of the actual kit from the session), put in the right spot, add in room and overhead samples, output them to the same tracks as the OHs and rooms, respectively, and process them as if they were one to begin with.
|
|
