Do most of you guys even record drums?

[Nick M]

This forum is mostly people screwing around with S2.0 and Podfarm unfortunately. People with microphones are in the minority here, people with enough to record a drumkit even less.

Too many appear to be offering "studios" then.

 

[Spiritbeast]

Personally, I think that if programmed drums are allowing more bands to have a chance, what's the big problem with them? Do they sound as good? No. But to the casual listener, they don't seem to mind that much. I know there are albums I love with programmed drums.

Let's face it, there are way many more talented guitarists then there are even mediocre drummers it seems. Programmed drums are allowing guitarists to get the opportunity to let their creativity shine.

 

[-Noodles-]

I've always felt the same way as the OP about this forum, in that it's weird how the minority of the materials are real drum kits and real amps.

Also, I've always felt that I'd rather my recordings grew as my career goes on with a body of work that are 'real'. Not that I don't think using samples and software isn't cool, and is a skill in itself - more that, personally speaking, I get more out of doing real recordings.

I'd rather have an imperfect real recording than a sterile fake one.

Hence why I don't edit performances, use samples unless required and always try to use real amps. Some bands don't dig my style - others do. So there's a market for everyone.

[as a side note, I think what some of you guys achieve is nothing short of amazing. So please don't read this as a hater post!]

 

[pitoga]

In my case (and for sure some of you guys too), it's basically about the room and gear, when you are just starting in this career it's almost impossible that you have the amount of money to invest in an appropriate room and mics, Do you have any clue how much it actually costs to build a good live room for drums? When I just started I thought it couldn't be THAT much, but now I'm nearly completion of my control room and small booth, and hell it costed me like five times more than I assumed. In that case I could easily rent another studio and track rooms there, well in my case that's not a good idea, cause the other studios here don't have appropriate rooms (they are like fully carpeted and not even with the correct materials) So there isn't really another way, cause I have recorded drums in some of this not appropiate places and the end result wasn't that bad, but the extra amount of money and time and coordination with the studio wasn't really worth it so in the end I prefer to program drums (or let them play on an e-kit) and wait till I have the amount of money to build an appropriate drum room.

 

[RichMinerva]

Damn. It's kinda sad isn't it? I'd like to separate myself from the POD/Slate crowd but I guess I pretty much am one of them. For me it's because I don't see pursuing this as a full-blown career as a valid option with the industry in the shape it's in, so its more a hobby/2nd job for me. As such, I don't have much to spend on nice mics or a decent drum room, so most drum trackings I've done have been more trouble than they've been worth, and haven't sounded THAT great in the end anyway, even with samples. On top of that, I often work from bands from overseas, just mixing, and then I have to work with what I'm given. Sometimes it's real drums, sometimes not.

THIS

me being a bedroom warrior its not exactl feasable for me as a bedroom warrior. but the chance to work with real audio wins everytime

 

[::XeS::]

Setting up microphones for a drum kit tracking is the best part of audio engineering in my opinion, so much fun

+400

 

[if6was9]

Setting up microphones for a drum kit tracking is the best part of audio engineering in my opinion, so much fun

I find it the most rewarding and satisfying part of the whole process. When you've got nice drums down, everything else just slots into place.

 

[Brady k]

Either they get played on my Roland kit , or i mic them up ....Never have i ever had to program drums.. it would take way to long IMO for me cause i'm not too experienced at it.. being a drummer myself probably helps alot too tho. cause i can go in and fix a take after the bands leaves if need be ....

 

[JeffTD]

You're totally on and this is the biggest problem with this forum - it's no longer audio engineers, but a bunch of laptop-wielding 'producers.'

 

[NickL]

I record real drums and I flipping love doing it too.

 

[Soundlurker]

I get sent midi drums for mixing pretty often. Many bands prefer it, mainly because they save a lot of money and if done right it can sound just as good so long as it's not a style that requires a lot of feel and groove.

I enjoy setting mics up as well but I'm not going to pretend I don't understand these bands' perspective and financial limitations.

Edit: also, considering some of the drummers out there... it's the lesser evil.

 

[crillemannen]

I always record real drums in my studio.

You can't get that glue effect that you get from a real overhead It always sounds to separated when you have programmed drums and the mix always sounds more alive with real drums (even if snare and kick are sample heavy)

 

[Williamn]

I record real drums and I flipping love doing it too.

+1
Im not as good as lots of people here or actual running a full blown studio.
But every project I have done have been with real recorded drums.

Sure I may not have the space myself, but then I spend some time seeking out a place where we can record them.

 

[Nick M]

Sure I may not have the space myself, but then I spend some time seeking out a place where we can record them.

This is how I started too, renting out a studio for my projects. Go rent the API room to track drums. Go to the Neve studio to track everything else. Mix it in the ssl room at the other studio.

 

[Charles J]

I always record real drums in my studio.

You can't get that glue effect that you get from a real overhead It always sounds to separated when you have programmed drums and the mix always sounds more alive with real drums (even if snare and kick are sample heavy)

Big ol' +1 to THIS!!!!

Real drums make my mixes sound better and I'm ALWAYS happier with the productions that we record real drums on.

It's not even an option NOT TO record real drums with bands UNLESS they either:
1. Don't have a drummer.
OR
2. The drummer can't play the shit.

but in either of those cases I'd rather probably not work with the band. Solely MIXING is different for some reason for me, tho! If it's a MIX PROJECT I don't really care and would in 90% of the case PREFER programmed drums because GOD KNOWS what kind of bullshit I'll have to deal with! That's one thing I really dig keeping in house. Drum recording!

Hahhahaha. But 85% of the productions we've pumped out have real drums!

 

[egan.]

The 500lb elephant that no one has mentioned (admitted) is that it's much harder to get real drums (and real amps) to sound good. You have to get the tones and then they are different every time.
Some of the "good" mixes I hear in the rate my mix section would sound like shit if the engineer was actually asked to use a drum (and/or guitar) sound that he hadn't been working on for 2 or 3 years.
Honestly though it doesn't bother me for demos but I am absolutely over the notion that I'm supposed to believe I'm listening to a band. Worse though is when it's a band with a label budget and still I'm listening to the same S2/Slate programmed bullshit (and I think both are great products).

 

[xTomx]

Completely agree with OP, the reality is most programmed drums sound shitty and boring to listen to. Most people suck dick at programming them to sound realistic, they usually don't suit the content because everybody uses the same samples regardless of context.

More importantly, it removes any hint of authenticity from the recording and in what's supposed to be an 'alternative' genre, it seems metal productions are just as identical and stagnant as pop and R'n'B ones. Because everybody uses the same samples the whole metal production scene is completely oversatuared.

 

[vespiz]

I'd probably suck at programming drums, since I've never really had to do it..

I guess I'm .. lucky (blessed, even?) to have a moderately decent place to record in. Drums want some space around 'em.
Seems that most bands here still want to do it the old-fashioned way. I've only once had to do a mix with SD2.0 drums on it and even if the playing was "natural" (V-drums>MIDI>SD), something wasn't quite right. Not enough dirt and grind!

Fookin' great room sound, though!

 

[GeertSamuel]

Setting up microphones for a drum kit tracking is the best part of audio engineering in my opinion, so much fun

I allways come back to the thought, what could I do this time to improve...

 

[Clockwork]

The 500lb elephant that no one has mentioned (admitted) is that it's much harder to get real drums (and real amps) to sound good. You have to get the tones and then they are different every time.
Some of the "good" mixes I hear in the rate my mix section would sound like shit if the engineer was actually asked to use a drum (and/or guitar) sound that he hadn't been working on for 2 or 3 years.
Honestly though it doesn't bother me for demos but I am absolutely over the notion that I'm supposed to believe I'm listening to a band. Worse though is when it's a band with a label budget and still I'm listening to the same S2/Slate programmed bullshit (and I think both are great products).

I agree with this entirely. It's fine for demos. But for a band's album I expect to hear the band, their drums, their guitars and their amps. Not the same slate kick and snare x amount of bands used or the same axe fx or pod preset that's just been tweaked. People go for the easiest way to make something sound good/passable and programming drums seems to be part of that. I think its amateurish for the most part which is fine so long as people understand that. But sadly I don't think most do.

I'd rather hear a mediocre recording of real drums then a really bitchin programming of the drum track to be honest.