Band I Recorded - Mesa Dual Rec
- Thread starter Scissors61
- Start date
Lowberg
Member
One more quick question.
How did you record the triggers?
Midi through a drum module?
or just record the triggers as audio through your interface?
If you recorded them as audio, how did you trigger Addictive Drums from the audio of the triggers?
How did you record the triggers?
Midi through a drum module?
or just record the triggers as audio through your interface?
If you recorded them as audio, how did you trigger Addictive Drums from the audio of the triggers?
Holy balls man good job with that. Any chance you can share some settings on the recto? I'm pretty happy with mine at the moment but it never hurts to try some new sounds for recording. And im right there with you on the overheads and triggers deal for real drums, I started like that because i couldn't afford enough mics haha but it's working out pretty well so far.
The sub-drops were just a sample that the guitarist had on his sampler, I'm not 100% sure but I think it might've been from the Korg ESX-1...
The audio from the drum triggers were recorded straight into my soundcard. Then I stuck drumagog on each channel. Then I used Drumagog to convert the hits from the snare and toms to MIDI. I got rid of the drumagog plugins from the actual recordings to save CPU power and muted the channels. Then I just pointed the MIDI from the snare and toms into AD.
Then I cut up all of the kick track so there were only hits, and no spaces inbetween and bumped the kicks about until they were all in the right places.
The snare and toms were pretty dead on anyway, but I just selected them all and hit Q (quantized) with it set on 16th notes and everything turned out perfect.
Unfortunately I have NO idea on the settings for the rectifier sorry man. I wasn't really expecting to use the amped tracks (but the guitarist wanted to) I was just gonna keep the DI and reamp it through my pod when I got home. But when I actually got back and listened to the tracks they sounded pretty good so I ended up using them. So literaly all I did was shove an i5 infront of the amp and hit record, didn't even fiddle with mic positions or E.Q. at all.
The audio from the drum triggers were recorded straight into my soundcard. Then I stuck drumagog on each channel. Then I used Drumagog to convert the hits from the snare and toms to MIDI. I got rid of the drumagog plugins from the actual recordings to save CPU power and muted the channels. Then I just pointed the MIDI from the snare and toms into AD.
Then I cut up all of the kick track so there were only hits, and no spaces inbetween and bumped the kicks about until they were all in the right places.
The snare and toms were pretty dead on anyway, but I just selected them all and hit Q (quantized) with it set on 16th notes and everything turned out perfect.
Unfortunately I have NO idea on the settings for the rectifier sorry man. I wasn't really expecting to use the amped tracks (but the guitarist wanted to) I was just gonna keep the DI and reamp it through my pod when I got home. But when I actually got back and listened to the tracks they sounded pretty good so I ended up using them. So literaly all I did was shove an i5 infront of the amp and hit record, didn't even fiddle with mic positions or E.Q. at all.
Oh well, guess you lucked out huh? haha. Any way thanks for sharing all you have man it's this kinda thing that helps everyone on this board learn something new everyday.
Lowberg
Member
Wow I didn't know Drumagog could create a midi output... That's awesome.
I wanted to get into recording live drums and was shopping for drum mics, but since I don't have real great drums or a really good room, I'm thinking about going your route and just buying triggers and some decent OH mics.
Did you have any trouble HI passing out the rest of the drums in the overheads? I mean trouble after quantizing the triggers or with the toms tuned different than AD's toms?
I wanted to get into recording live drums and was shopping for drum mics, but since I don't have real great drums or a really good room, I'm thinking about going your route and just buying triggers and some decent OH mics.
Did you have any trouble HI passing out the rest of the drums in the overheads? I mean trouble after quantizing the triggers or with the toms tuned different than AD's toms?
Literally no trouble at all mate, literally just swept up until I couldn't really hear them any more, took no more than 10 seconds 
Great Work!
Can you fill us in on the guitar signal chain on what was used for a mic and mic pre? Also, what basic processing was applied to the guitar to get this great in your face sound?
Thanks Much!
Can you fill us in on the guitar signal chain on what was used for a mic and mic pre? Also, what basic processing was applied to the guitar to get this great in your face sound?
Thanks Much!
The guitar was an ESP Eclipse. 2 of the guitar tracks with only the amp, and then 2 with a TS7. Mic was an Audix i5. Straight into my Firepod.
Guitars were quad tracked.
In the box there was EQ on each seperate guitar track. Then all guitar tracks were fed into a guitar bus, where I applied EQ again, a small amount of multiband compression pushing up the high mids a bit, and then BBE sonic maximizer with both controls set to 1. Then I sent the whole guitar bus to a Parallel compression bus as well. That's pretty much it...
Guitars were quad tracked.
In the box there was EQ on each seperate guitar track. Then all guitar tracks were fed into a guitar bus, where I applied EQ again, a small amount of multiband compression pushing up the high mids a bit, and then BBE sonic maximizer with both controls set to 1. Then I sent the whole guitar bus to a Parallel compression bus as well. That's pretty much it...
Thanks for the reply! Did you eq anything in the low end or use a high or low pass filter on the guitar tracks? If so, where were they set?
Thanks for the help as I have been trying to get close to this tone for months now!
Thanks for the help as I have been trying to get close to this tone for months now!
My EQ-ing always tends to be pretty fucking ridiculous dude 'cos I have no idea what to really do frequency-wise. I just tend to pull things about until I think they sound good, hence the EQ for the guitar tracks all look almost exactly the same as this:
eternally_gutted
Member
- Sep 15, 2008
- 923
- 0
- 16
dude
you have for example:
OH, kick, snare
make drum bus
make para drum bus
there is many options, but... take OUT of kick and snare to drum bus (with anything you like, L2, L1, eq, bla bla bla), later in drum bus!! make a SEND to para drum bus ( with eq, comp)
and than you have para comp
later make reverb FX
and SEND there what you like, snare, or kick, or OH, or all drums
you can make para comp only on snare...so: make snare bus (with comp, eq), and SEND there your snare... same with kick, but to bus named para kick with differend settings... remember there is possibility to make track OUT, or SEND
i hope it helps, and i hope you understand what i am writing, sorry for my eng
cheers
thanks zvish!
i think i understood well...
snare, kick tracks for example and i create 2 buses:
1. drum bus with settings: eq, l2.......
2. para drum bus: eq, comp
in snare, kick effects, i send them to drum bus. And, in drum bus i create a send to para drums.
and then, i can to make optional reverb bus and send elements to this.
thanks again
Hey, can't listen to the mp3's? Error stating can't find server?
Is your server down, been trying for 2 days to listen to your files?
Thanks!
Is your server down, been trying for 2 days to listen to your files?
Thanks!
Yeah dude, just search for threads I've started on here, or visit my band myspace (in my sig) or my studio myspace - http:www.myspace.com/tidalforceaudio
Scissors: Can you fill me in on exactly what was done to the guitar and vocal tracks? Also, on the final mix did you add anything on the two buss, such as compression, limiting reverb, delay, etc? You have a huge sound differential just going from the dry tracks to the eq tracks and it seems like there is more going on then just the eq that you have posted for us.
I really like this tone and need further insight on how you got there.
Cheers!
I really like this tone and need further insight on how you got there.
Cheers!
Just saw your PM dude, but I'll reply here...
Besides the EQ. On the guitar bus I have the following plugins: BBE Sonic Maximizer, Waves C4 and Waves Q1.
BBE was set at 1 on both controls.
C4 was bringing up on the low end a bit, but only VERY slightly.
And the Q1 was literally just cutting out this really nasty buzzy frequency that I got from not working on mic position at all
After that they were just sent to a paralel compression bus, as I already posted earlier.
The vocals are a single track, there is only 1 part of the song where the vocals over-lap and I just cross-faded them together.
On each channel there is a pretty significant EQ boost at around 3k.
Then they're all shoved into a vocal bus.
On the bus there is a relatively similar EQ boost
Then the following plugins: PSP VintageWarmer, BBE Sonic Maximizer, Waves Rcomp, Waves Rvox and finally Steinberg Reverb A.
PSP VintageWarmer is driving the vocals pretty hard. Pretty much the same as the bass preset I posted earlier in the thread.
BBE has the Process set on 2 and that's it.
Rcomp has a high ratio, with fast attack and release times.
Rvox just has the gate set quite high to get rid of some of the background noise.
Reverb A just has whatever the stock settings are but with mostly dry signal instead of 50/50 wet and dry.
On the 2bus, I put firstly Event Horizon with the soft clip turned up slightly, and then it set to clip mode, then just kjaerhus classic limiter with the stock settings.
Hope this helps man...
Besides the EQ. On the guitar bus I have the following plugins: BBE Sonic Maximizer, Waves C4 and Waves Q1.
BBE was set at 1 on both controls.
C4 was bringing up on the low end a bit, but only VERY slightly.
And the Q1 was literally just cutting out this really nasty buzzy frequency that I got from not working on mic position at all
After that they were just sent to a paralel compression bus, as I already posted earlier.
The vocals are a single track, there is only 1 part of the song where the vocals over-lap and I just cross-faded them together.
On each channel there is a pretty significant EQ boost at around 3k.
Then they're all shoved into a vocal bus.
On the bus there is a relatively similar EQ boost
Then the following plugins: PSP VintageWarmer, BBE Sonic Maximizer, Waves Rcomp, Waves Rvox and finally Steinberg Reverb A.
PSP VintageWarmer is driving the vocals pretty hard. Pretty much the same as the bass preset I posted earlier in the thread.
BBE has the Process set on 2 and that's it.
Rcomp has a high ratio, with fast attack and release times.
Rvox just has the gate set quite high to get rid of some of the background noise.
Reverb A just has whatever the stock settings are but with mostly dry signal instead of 50/50 wet and dry.
On the 2bus, I put firstly Event Horizon with the soft clip turned up slightly, and then it set to clip mode, then just kjaerhus classic limiter with the stock settings.
Hope this helps man...
Thanks for the details, I appreciate all the help! That 3k boost was just the vocal tracks, correct?
I'm still trying to tell what is giving that hammer in the face smack in your mix, ie which plugins or tracks are giving the greatest influences as between dry and mixed there is a huge difference. Could it be the parallel compression is doing a lot also?
Thanks for any further details to my queries.
Cheers!
I'm still trying to tell what is giving that hammer in the face smack in your mix, ie which plugins or tracks are giving the greatest influences as between dry and mixed there is a huge difference. Could it be the parallel compression is doing a lot also?
Thanks for any further details to my queries.
Cheers!