Hey guys, I know this subject is touched here and there all over the forum - partcularly regarding snare and kick, but just thought having a thread with all the basics compiled might be nice. I know there's no exact point to start rolling things off and that it will vary depending on the sound, but am wondering approximately where you guys are rolling things off/doing cuts on various drum elements? (both lows and highs) Doesn't seem like there's alot of talk where people are cutting/rolling highs off, just the lows.
Cutting/Rolling-off snare/kick/overheads/etc.
- Thread starter ruckus328
- Start date
I
have
used
the
search.
And nobody talks about rolling off or cutting highs. If you can show me where I'd love to know. Unfortunately "cut" and "off" are too short to search. Believe me I've tried.
have
used
the
search.
And nobody talks about rolling off or cutting highs. If you can show me where I'd love to know. Unfortunately "cut" and "off" are too short to search. Believe me I've tried.
egan.
daylightdies.com
I don't roll off the highs on anything on the kit unless there is some particular issue (cymbal bleed, etc.).
BLUElightCory
Member
I oftentimes will roll off the highs on my OH and/or room mics in many (but not all) of the mixes I do, usually around 12kHz (give or take) with a gradual slope. It usually helps smooth things out a bit and helps impart a bit more of an analog-ish feel to the drums. It's definitely dependent on the situation, the drummer, and the cymbals, but I find myself doing it more often than not.
ParsonsMatt
Alas, Tyranny
Maybe that's because nobody has brought it up????
Did I insult you or something dude? What's with all the hostility to a simple question? Maybe I'm reading your posts wrong, it's easy to misinterpret across the internet.
I always thought you wanna roll the hf off of the kick, and sometimes off overheads so they're not so hissy. Was wondering if that was true and what others were doing, that's all. Like I said, I found nothing on this issue when I searched.
egan.
daylightdies.com
Hey Ruckus, I'm going to advise focusing on the answers you are getting rather than the baiting. It's not that you're wrong, it's just you aren't going to win OR get answers by heading down that path.
Dexter_prog
New Metal Member
Get used to it. This forum works that way. Usually a thread has: 60% of insults and/or random offtopic material (nothing against Gareth, I'm talking in general), 20% of users bragging about how they already knew that technique (who cares?) and 20% of useful information
Skinny Viking
¯\(°_o)/¯ How do Lydian?
This is also a more recent trend, didn't really notice it being like this a year or 2 ago but thats just my opinion.
and to Ruckus ... you kinda answered your own question in your original post... "I know there's no exact point to start rolling things off and that it will vary depending on the sound..." Thats the truth of it and sometimes its not all depending on the sound but on your individual taste in what you are trying to achieve. I understand you may just be looking for an "average" maybe just to let yourself know that you are not completely out of the ball park with where and how you choose to EQ things but you also need to be prepared for one of the most common and genuine answers. Experiment and see what sounds good to you. Try different methods to see which you like better. If you have a harsh set of OHs, try a low pass at 16 khz. Does it help, does it take away too much shimmer and high end? Fine, instead of a low pass, try a high shelf with the same setting and drop it down -6db to start, see how it sounds. So on and so on. Cool?
ahjteam
Anssi Tenhunen
Erkan
mr-walker.bandcamp
highly dependant on your mics and how much highs they pick up so maybe you see why there are no set rules =) too many factors to say do or don't to put it simply..
Morgan C
MAX LOUD PRESETS¯\(°_o)/¯
On a live snare/tom/kick track with too much cymbal bleed, a lowpass at like 10khz could work, but if you're using samples there's really no need.
I don't think there's any point in rolling off on the OHs. Guitars get rolled off at ~12khz, bass even lower, drums have nothing past like 12khz so if you roll off the OHs your mix has NOTHING in the really high-end. However, a lot of people will do a 35hz highpass and a 18khz lowpass on the masterbus.
I don't think there's any point in rolling off on the OHs. Guitars get rolled off at ~12khz, bass even lower, drums have nothing past like 12khz so if you roll off the OHs your mix has NOTHING in the really high-end. However, a lot of people will do a 35hz highpass and a 18khz lowpass on the masterbus.
Harry Hughes
âââ¬â¬
- Apr 25, 2009
- 4,353
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lolzgreg
Cereal Shipping Sneapster
Kick: HP@ 50 or 40
Snare: HP@ 100 to 160
Toms: HP@ 80 to 120 with a low shelf down in many cases
Overheads: HP@ 250 to 600
Rooms: HP@ 100, LP@ 8khz with a low shelf down in most cases
Snare: HP@ 100 to 160
Toms: HP@ 80 to 120 with a low shelf down in many cases
Overheads: HP@ 250 to 600
Rooms: HP@ 100, LP@ 8khz with a low shelf down in most cases
Line Level Recordings
New Metal Member
- Jun 29, 2009
- 407
- 0
- 0
man
how the hell do you expect this website to be kept updated with all your colleagues and such lookin at that post they found on the search which was posted 6 months ago?
by repeating and updating is the only way this site will always be kept fresh.
uke:....
Line Level Recordings
New Metal Member
- Jun 29, 2009
- 407
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gareth may have a shitty attitude at times
but so does everyone else
and he does some good stuff
