Acoustic Drums for Metal: A Guide

Oz, why SawStudio?
Seems like every time I mention it, somebody gets pissed off, but I'll answer truthfully....


Why? It's fast. Faster than any DAW you've ever worked with. It's fucking lightspeed ...because it's written in assembler. Not additional hardware required. No choking CPU, no bullshit. It just works. ...and it's only 1.49 megabytes.

...I'll go out on a limb here & I know I'll take some flak for it, but it will take on a full blown PT HD system for considerably less money. No tie-downs to proprietary hardware required. No add in "processor cards" to make up for weak programming.

Other things: Better interface... actually sold my Mackie Control that I bought to work with Sonar when I switched over to SAW. It was integrated even tighter, but I found it was just slowing me down. Bob redesigned the mouse/keyboard functions to work for audio.

Softedge, great channel FX, great routing, multi-track layers (try flying in 8 drum takes with 19 mics in & out of the mix without stopping playback on any other DAW) and fabulous tech support. I had an issue crop up one day & I was able to call the programmer at his home to resolve the issue. I've only had to to do that once, but it's nice to have that to fall back on.


IMO the only thing missing is a "beat detective" routine. I've been pestering Bob for it for a while now & it looks like he'll add it sometime soon.



Bob doesn't advertise, so he never gets any press. You'll never see a review of SAW in anything like Recording, EQ, Mix, or Pro Audio Review. I didn't go with who had the best ads, I went with what I thought would be the best tool to work with. ....I've been working with it for 4 years now & never regretted the switch.


BTW, here's a wiki quote about assembly language vs high-level language:
Higher-Level Languages, such as Fortran, C, Ada and others, were designed with the express purpose in mind to avoid programming in assembly. Assembly language programming, as shown above is tedious, and the large amount of code required to even perform simple tasks increases the probability of bugs in your code. Therefore, people generally write code in higher-level languages, and let the compilers do the tedious work of writing out the assembly code, and converting to machine code. However, there are a number of occasions when programming in assembly is beneficial, and other occasions when it is required:

1. When writing operating system kernels.
2. When writing bootloaders.
3. When writing device drivers.
4. When writing code that is speed sensitive.
5. Writing code to take advantage of specific hardware features.

Assembly has a number of advantages over high-level languages, and a good programmer will know when and how to exploit these advantages. First, assembly language is close to the machine. High-level languages are written to be portable to many different platforms, and therefore high-level code cannot possibly take advantage of the special features found on all platforms. Also, writing in a higher-level language introduces code bloat: the compiler creates too much code to perform a given task. This means that optimized code written in pure assembly can frequently run faster, and the generated code is smaller than code written in high-level languages. However, assembly suffers from the fact that it is slow to write, and is prone to bugs and errors.

Here's a link to that page:
http://en.wikibooks.org/wiki/Programming:Assembly
 
woah. wat?
SAWSTUDIO demo looks like fucking 1993 shareware or some shit.

how can i join a network game? i can't figure out where to put in ur IP d00d.








but srsly, i'm checking it out. i like the use of the FUNCTION KEYS. FINALLY I CAN USE THEM.
 
TRUE STORY.

but srsly.
you guys should check out the SAWSTUDIO demo for HANDS ON experience.
you can also get the USER MANUAL for free at the site to help guide you through the magic of audio recording computer technology.









(supercool)
 
Sloan, I don't know what you're on but I'm sure it's in everyone's best interests if you don't share.

Ever.

Even with me.

Jeff

Dude, speak for yourself - Sloan's posts are easily the funniest freakin' things I've ever read on here, and I wouldn't have him any other way :lol:
 
woah. wat?
SAWSTUDIO demo looks like fucking 1993 shareware or some shit.
.


It didn't say it was pretty, I said it works well for me. Actually some of the skins are pretty bad ass, but the default skin is downright fugly, no question about that. We (the users) keep screaming at Bob to change the default shade..

Here's the skin I work with: It's pretty easy on the eyes:
saw.jpg



But for me, it's about substance. Not style.
 
YES!
just go fucking crazy and press the function keys like a madman and get SEIZUREVISION!!!
i'm lovin' it.


Yeah, do that when you've got 48 tracks running with 4 different reverbs & god knows what else loaded up & it still won't choke.


Function keys are cool as you can customize them to get you anywhere in the program instantly.
 
Damn. After 3 long sessions chipping away at this thread I've finally reached the end. Thanks OZ!

I think I might be the only one on this thread who might actually prefer an XY setup for overheads. In my small bit of experience, spaced pairs seem to make the resulting image actually TOO wide for my taste, but I don't expect many would agree with me. I guess it's an air drumming thing. On some mixes it just sounds to me like the hats are 8 feet away, and the floor tom and china are 8 feet away in the other direction, and I can't reach them on my imaginary invisible air-drum kit. But I guess I could get me some imaginary 8 foot long invisible drumsticks to reach them with.. I dunno I'm a weirdo.

It's getting late, and I'm pretty tired and not thinking straight, but I would like to ask a question. How many inputs do you have to work with with your RME interface? I looked it up and read that you can use the xlr and trs ins simultaneously, giving you a total of something like 32 simultaneous inputs. I'm assuming most of these are digital, as if I remember right the total number of actual analog ins was under 15 or so. Do you need additional converters? How do you get everything into your daw? Whats your signal chain from mics to daw, if you don't mind me asking.

Oh, and as a side note, I enjoyed the references to the Megadeth Youthanasia studio video. I have it too! I like how they pretty much built a full fledged pro studio from the ground up for that album. Talk about big budget. Ok sorry for rambling.
 
The thing with OHs is that you can pan closer than 100L/100R, so 'too wide' doesn't have to be an issue... going 'farther' than 100L/100R, on the other hand, isn't going to work too well.

Jeff
 
Quite true, quite true. I've done that in the past, but on the rare occasion I actually get to record a kit nowadays I usually just do the XY in the beginning. I'm probably just lazy. Wait, no, I'm definitely lazy. I'd like to one day experiment with close micing individual cymbals for shits and giggles if I ever get enough inputs and mics, though I'm sure I'll have my hands full with all of the phase issues that I assume would arise.
 
Do you guys see any obvious "whoa thar, you don't wanna do that, boy!!" issues with how I'm planning to do the drum session??
Any suggestions, anti-noob comments or offers to record us instead at the same price(hehe) are welcome.

I'm not a drum recording engineer myself, but in the few drum sessions I've attended and worked from (I mixed my two bands' latest releases) I've already witnessed (and indirectly done) enough mistakes to speak about them. :D

I'm not sure it's a very good idea to rely on triggers alone for your snare drum. If you have parts with ghost notes, gravity blasts or other stuff with significant dynamics, you may have a hard time adjusting the module (or drum replacer)'s sensitiveness to match those. On the other hand, if you mic the snare, don't neglect tuning and muting. On the very first drum recording I attended, we got an awful ringy St Anger-like snare tone because none of us knew muting would be needed, and the engineer told us nothing at all. I eventually had to replace the snare completely... This also goes for the toms.

About cymbals... well, in addition to miking the hats for Oz's trick, I would also record the track just in case, if possible. On the current project I'm mixing, our drummer's super-aggressive 14'' hihat is loud as fuck in the overhead tracks, and I really wish I had a separate hat track so that I could sidechain it...
 
Wooohooo! 100,000 hits!


One of these days I'm going to add another edition to this. I've learned so much since I started this, I could really add some useful info.

Unfortunately, I'm also working my ass off on some large projects. If I get a free nanosecond here & there, maybe I can put something together.