In studio with George Massenburg - Ep. 1 : miking the drums
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Soundlurker
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Those OH positions are probably not your best bet if you're dealing with modern metal but yeah, as he said: use your ears.
I'd do something similar for OHs with metal actually. Then spot mic cymbals (or pairs) from underneath.
George Massenburg said:
Exactly.
RandomAwesome
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- Nov 17, 2009
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Mattayus
Sir Groove-A-Lot
That was absolutely fantastic. It's a shame that these days we have to think about how to AVOID getting the snare and kick in the OH mic so we can trash it and trigger it in the mix 
But this is still a great little gateway into getting you to think about shit differently and just trust your ears. Good stuff!
But this is still a great little gateway into getting you to think about shit differently and just trust your ears. Good stuff!
C_F_H_13
Protools Guru
I was thinking the same thing. The amount of "f bombs" in this video makes me love him and realize he really is an "engineer" (not that it was actually in question).
Swearing seems to be a sign of experience when it comes to engineering haha.
ArroldW
Sound Engineer/Producer
RandomAwesome
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... why would you want to ever avoid snare and kick in your overheads? On a lot of my records, 50% of the overall drum sound comes from overheads. I think on the new Plea album it was more like 60%.
Harley Barley
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My name is Damage
AudioGeekZine
arsehole know-it-all
Mattayus
Sir Groove-A-Lot
I know, it's unavoidable even if you WERE trying to completely discard it. I personally like natural sounding snares that blend with a full kit, even when they are sampled, but he's talking about gaining a lot of the actual body of the snare in HH and OH, for that really full acoustic sound. I dare say most of the dudes on here aren't trying to catch that sort of thing? depending on the client of course.
Perhaps I shouldn't have said "we", because that implies it's the done thing. What I meant was that a lot of people (engineers and clients alike) are after *that* sound for modern metal where anything even remotely natural sounding is missing.
It was really in response to this comment
I get SHIT loads of body in my OHs. I'm also into throwing up random mics really close to the kit - especially ribbons. I point the 2 sides it picks up towards whatever I want it to pick up then attempt to reject the cymbals (slightly in vain, as always) with the other sides. Bit of fast compression on the way in.
Yeh, hi-passing cymbals at 1k and using L1 = poo drums. I hi-pass at 100 and put a big boost at 150! That's the drum sound right there! OHs, stereo room and a crush mic!
Anyway, George Massenburg is awesome. Respect for the tank-top JUMPER
Mattayus
Sir Groove-A-Lot
^ I haven't had the opportunity to experiment with surplus mics on that level yet but I will on the next project, especially after seeing this
and yeah, that's what I was trying to say, it's a shame that some people want that sound
and yeah, that's what I was trying to say, it's a shame that some people want that sound
AudioGeekZine
arsehole know-it-all
I didn't mean to discourage anyone, just meant to say that it's understandable why sometimes you have to filter everything under 500 down on OHs.
AudioGeekZine
arsehole know-it-all
Yeah sometimes you just want the cymbals and eq the lows out or mids, I never limit them personally.
I've actually started doing either MS (waves center) or multiband stereo narrowing (in Ozone 4) on overheads to get the lows in the middle and it works well for me.
