6 mics, 3 inputs, let's solve this!

[rchoi54]

So when I record drums I usually put the kick into its own input, and then put everything else (snare, OH, toms) into the remaining two inputs as L and R.

Lately, I've been wanting to isolate the snare because I seem to be running into more drummers who prefer a "raw" snare,

I was thinking...maybe I could put the snare into its own input, and put everything else (the kick, OH, and toms) into the L and R inputs.

Just to make things clear:
1. Snare mic goes into its own input.
2. Kick, OH, and toms are mic'd up into a mixer.
3. In the mixer, I cut everything except lows for the kick.
4. Cut the lows for the OH and toms.
5. The mixer is panned L and R (b/c i have OH mics), and then my two L and R inputs go into my computer.

6. I would copy and paste one of the L or R tracks, zone in on the low frequencies, and then use it to trigger a sample kick.

7. The result: a snare track; a triggered kick track; and an EQ'd stereo track of the OH and the toms that has no low frequencies(b/c of the kick)

Would this work at all?

I am recording a band in a couple of weeks and I would like to figure this out beforehand so we dont waste an hour experimenting haha.

<333

 

[-Noodles-]

I'd go for a kick / snare / mono overhead.

You'll probably get OKAY results with externally mixing channels - but if you worry about getting the right sound over mic , you'll learn more and probably get better results.

[btw - how will you trigger the kick, if you have no lows or input to monitor?]

 

[BLUElightCory]

I'd go for a kick / snare / mono overhead.

You'll probably get OKAY results with externally mixing channels - but if you worry about getting the right sound over mic , you'll learn more and probably get better results.

[btw - how will you trigger the kick, if you have no lows or input to monitor?]

Totally agree with this - Kick / Snare / mono OH is definitely the way to go.

 

[rchoi54]

nononono. the Kick will come through only with lows while the OH and toms will come through without lows (i have EQs on my mixer)

i mean doesnt this make sense more than using a kick/everything else since the snare is in similar frequencies as the cymbals and toms??

 

[ttrentt]

I was in your exact same position. I choose kick/snare/mono overhead.

Well, as soon as that session was over, I upgraded gear. METAL drums with a mono overhead terrible. WIDE drums are what make metal. Period. I wouldn't even bother recording with a mono overhead unless its just for some crummy preproduction IMO. Besides, it is SO cheap to get extra channels these days.

TTT

 

[alan1990]

That will work perfectly ive done it in a pinch situation and it worked great.

then you should pretty easily be able to make a tom track from the transients in the overhead tracks leaving you with something pretty workable

 

[AudioGeekZine]

rent or borrow a larger interface

 

[gabriel g.]

Record OH L / OH R and the room...
Play with a click, program the rest!!!

Or like AudioGeek said, borrow a bigger interface

 

[rchoi54]

I'm just trying to be efficient here.

How about this question:
How do the OH tracks sound without the 0-250 Hz range?
I will be replacing kick, snare, and will be programming in toms, so 0-250 Hz range reallyyyy doesnt matter for OH tracks do they?

 

[Forceps]

No, I ussualy use a high pass EQ from 600 hz and up.
But that is because I have enough imputs and don't want the kick and snare in the OH... why not try the Recorderman setup (google or youtube will tell you exactly how it's done). I've never recorded that way, but the clips sound nice. Don't know if this works for metal as well, maybe someone has some experiences with it?

 

[rchoi54]

Well remember that I will be cutting 250 Hz and above for the kick so the OH wont really be affected, and the kick will be easily triggered.

I think this will work, if not then I'll just get a bigger interface. But I love experimenting and saving cash DD more tacos for me! hahaha

 

[AudioGeekZine]

I'm just trying to be efficient here.

Using the right tool for the job helps with that.

 

[Line Level Recordings]

hey rchol54
ignore audiogeekzine
hes an asshole

but he is right
thats the worst part

 

[AHChris]

I would definitely go for spaced pair OHs and a kick mic. Just make shure that both OHs have exactly the same distance to the snare drum. Otherwise the snare won´t appear in the center of the stereo image. You will get tons of snare and toms in the OHs but not very much kickdrum. Just trigger the kick mic and see what you can get out of the OHs. Maybe you can even trigger the snare drum if you copy the OHs and isolate the snare attack with a surgical EQ. It shure is not ideal for a metal drum recording but you always can do additional programming afterwards.

Greetings Chris