Is slip editing possible while using room mics?

[Ghoulscout]

Hi there,
I am more into natural drumsounds, that have a lot of room and sound 'real'. I've seen that many of you sample at least the kick and slip edit or even quantize it. I also read, that many here roll off a lot of lowend of the Overheads, to have mainly cymbal sound.

I can see the connection between this, but I was wondering: Is there any possibility to move e.g. kick hits, while using natural room and overhead sound? It would sound more like a flam, if only the bassdrum is edited, but I can not imagine, that editing the roomsound would work.

 

[SimonTaddio_Qc]

you can try to get most of the kick out of the OH track with a hi-pass, but room mics usually have more bass to them, so you can possibly have problems with that, but if you're careful I doubt it'll be very noticeable.
You can use the SAVE AS function to make those kinds of experiments, that way if something goes real bad, you have something to fall back on.

Also, as everyone will say, there's a ton of good read here about that

 

[Revson]

Check out 006's slip editing tutorial if you haven't.

 

[DanLights]

normally you would have two groups that you edit independently from each other: Kick drum, and everything else. The "everything else" you would do it all together cause it would sound like a mess of dogpoo if you didn't. The kick usually can be saved because if you roll out a lot of the low end from the overheads (up to 400/500 Hz perhaps, I haven't tried more) then the kick drum from the overheads is negligible, it will not be heard when the close mic'd (or triggered) kick is playing, and even less when the whole mix is playing.

I've never edited with room mics, but I suppose you would do the same thing, you would include the room within the "everything else" group, I normally already highpass the rooms as well cause I don't want my kick to be roomy most of the time

 

[punkrockacademyfightsong]

My drumsounds are usually based around the room mics too and I slip edit quite a lot. Just make sure to edit all the drums together. If the kick is really far of when it's played together with an other drum (snare, tom or ride) you can always get the most important hit on the grid, then remove that track from the edit group, make a cut just before that hit (if the kick is to early) or just behind (if the kick is late) and move the kick, grouped together with all other channels again, as close as you can and as close as sounds good to the other hit, actually sounds more natural than right on top of each other anyway and that way you still keep everything in phase with eachother.

 

[JeffTD]

You need to slip all the mics at once. Sometimes this is not possible with fast double bass - luckily, it's usually too low in the room/OH mics to matter, especially once the guitars come in.

 

[Ermz]

On double-bass heavy material I like to either not record the kick or just have it played on a pad. It only ends up causing problems during editing, where you'll need to move the kick individually to the rest of the kit, but don't want the nasty flamming sound, especially if you like to use a lot of low-end from the OHs and room mics in the mix.

 

[drew_drummer]

I've not had any problems doing this with my recent stuff, and I have five ambient mic channels, as well as overheads.

 

[006]

Basically what Jeff said man, edit everything together, but on double bass parts don't try to align the kick, just align the hands on those parts. **Still all tracks together though because you want the kicks after double bass parts to be aligned with the hands** The kick will be off on the double bass sections but just go back after wards and do those by themselves so they are on the grid.