I just can't make the toms boom!
- Thread starter AshM
- Start date
Whoa thats deep! Haha, I love that idea man, will definitely be giving this an idea too.
As for condensers, I'm sorted for that man, the studio has a vast collection.
I'm excited now can't wait to try this! I'll post some mixes of my results in a few weeks so keep your eyes out
(the pressure's on now...)
As for condensers, I'm sorted for that man, the studio has a vast collection.
I'm excited now can't wait to try this! I'll post some mixes of my results in a few weeks so keep your eyes out
(the pressure's on now...)
chonchball
37studios.com
Awesome! Can't wait to hear what you come up with
That's great you're working within a studio with a large mic closet too. That's a big hurdle for newcomers is learning the right mics and how to explore with mics instead of being someone who considers themselves a recording engineer because they can DI something and Podfarm it, program MIDI drums, use impulses, and plugin process everything to hell.
*ahem*uke:
That's great you're working within a studio with a large mic closet too. That's a big hurdle for newcomers is learning the right mics and how to explore with mics instead of being someone who considers themselves a recording engineer because they can DI something and Podfarm it, program MIDI drums, use impulses, and plugin process everything to hell.
*ahem*
uke:
darthjujuu
Member
put your close up mic near the rim where you would anyway, but then put a nice condenser above the tom using the 7:1 ratio rule (that's a whole 'nother topic relating to mic phase relationships, but if you are only using 2 mics to test this trick out it won't hurt your overall kit sound yet) crank the gain on the condenser (i'm thinking something like an AKG C414, AT4040, AT4050, or even a pencil condenser like an SM81 or an SM94, you get the picture) point that straight down on the tom. that condenser mic that's at about head level when you're standing up will pick up GREAT tom resonance. This is why using overheads as a KIT sound can be so important. it just sucks cuz you can't really do this with a drummer who is all over the place on his timing or really bashing the hell out of his cymbals. but this is where making triggered samples of that mic comes into play! get few dry hits of him hitting that tom, then make a sample of that resonance and keep that mic out of the final mix and just trigger that resonant sound with no cymbal bleed into your mix so every time he hits the close up tom mic, you're also hearing the tom resonate without all that cymbal bleed and clutter from the kit. all that clean resonance can be then brought up into the mix to taste and you'll instantly feel some of that boomy decay that you're searching for
yanno chonch i was just about to ask how, with the swellers mix, you were able to get such a delicous room sound on the snare with a squashed room mic and not have a ton of midrange cymbal noise destroying everything, instead keeping the majority of cymbals/hats in the super hi-passed overheads (if my hearing is correct)... but looks like you just answered for me! sounds like quite a process there, triggering in room noise on individual shells, but sounds well worth it for keeping things clean and helping bleed control. i never gave that a ton of thought o_0 (but i also haven't had clients that pay enough to motivate me to make .gogs of the room noise on each of their shells)
chonchball
37studios.com
I want to point out that I didn't mix that track, it was done by Mark Michalik (which I stated above) but we both use a lot of the same principles in our drum miking and mixing, especially when using my particular live room.
His decay sound in fact wasn't from a soloed snare decay in the room, it's just a matter of selecting the frequencies that are working and the eliminating the ones that are superfluous. Remember that when tracking drums and using REAL takes instead of just trying to high pass the cymbals and trigger everything else, you can have a GREAT relationship of everything in a mic. That mix was unique in that we had 4 room mics set up, and Mark ended up selecting two completely incongruent mics for room sound and stereo field. Just another testament to the fact that if you always go with a formula, you shelter yourself from new possibilities that you wouldn't think would work from the start of a project.
It helps to have a great drummer too though. That way you aren't trying to hide clutter, but instead you're trying to display character and performance!
His decay sound in fact wasn't from a soloed snare decay in the room, it's just a matter of selecting the frequencies that are working and the eliminating the ones that are superfluous. Remember that when tracking drums and using REAL takes instead of just trying to high pass the cymbals and trigger everything else, you can have a GREAT relationship of everything in a mic. That mix was unique in that we had 4 room mics set up, and Mark ended up selecting two completely incongruent mics for room sound and stereo field. Just another testament to the fact that if you always go with a formula, you shelter yourself from new possibilities that you wouldn't think would work from the start of a project.
It helps to have a great drummer too though. That way you aren't trying to hide clutter, but instead you're trying to display character and performance!
