Not that I'm new, but I have a question!
When quantizing drums using the slip-editing (Cubase in my case), how do I prevent the cymbals from loosing their transients or getting double transients?
I know Jeff made a video, but there was no sound, and I would like some explanation!
I asked Jeff about this, and he gave some advice as well, so I'll write it up here:
a. Do you have your cross fade settings correct in Cubase? Should be 5ms fade in, 5ms fade out, auto crossfades.
b. Jeff- If there are a lot of drums being hit in a short period of time, you may need to slide really prominent cymbals (ride bell, hi hat) ahead of the beat JUST slightly to prevent flamming. Remember that cymbals get prominence over fast double kick, since you won't hear much kick in the overheads if you tracked well for metal, and then you can just program in/paste kick hits onto the grid.
c. The drummer in question may have had terrible timing. Hopefully this isn't the case. Remember about turd polishing, that it usually doesn't turn out to great. You can only do so much to fix a poor performance.
greg, for some reason I have never asked this, but here it goes: Why are you so good at setting and micing an amp and what is your usual signal chain?
The biggest part, coming straight from Sneap himself, is "knowing what to listen for." You have to know what you want from the amplifier, what amplifier to choose based upon the context of the mix and the style of the player, and a micing position to capture the tone the way it is in your head.
I will generally use a single 57 through my SCA API preamp into my head of choice. I generally start with the Dual Rectifier, because if it sounds shitty/great with a particular player, it will either be the golden amp, or nudge me in the right direction for an amplifier voicing that will work best. I do not do any post processing on my guitars EVER aside from a HP/LP and sometimes a high-shelf or a small notch or two.
When working with your tonestack settings, remember that "too little mids" sometimes means too much bass and treble, etc. You need a balance in the frequency spectrum to make an amplifier sound right. Most instruments take SHELVING very well, since you are causing the least amount of phasing since all of the bands are increased equally gain wise. Sometimes the tone will have a great character, but be too dark or bright for a mix. Reach for a shelf filter before you do anything else.
ive got a quick question, i know their is as FAQ about it (which i have read), but its more about drum replacement which i understand, im referring to actual triggers you put on a drum, very simply i dont own any and was wondering how they connect to an interface? MIDI output? TRS, TS, XLR? always bugged me and i havent gotten round to buying them yet, and i dont have a MIDI interface just yet so i hope its audio of some kind.
You can either hook a trigger up to a MIDI unit such as the Alesis Trigger I/O to route the hits straight to MIDI, or plug the Triggers into a preamp. Some people have routed triggers straight to the A/D converter, but it may not have enough gain to properly capture more intricate hits or parts.
