Joey Sturgis Drums

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docwright15

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Oct 28, 2010
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hey guys,

I know that Joey replaces/replaced all the drums except his cymbals of course. Now, how did he do this? He must have done something because if it was just the drummer drumming, then there would be bleed of the toms and snare into the overheads. What was his way of doing it.
what I do most of the time is I just play cymbals alone and then go in and play the kick, snare, toms and I hit the stickcs on a cardboard box (lightly) because without my down beat on the cymbals I lose rhythm. And there is little to non tap sound in the end. Which I just replace it anyway. How does Sturgis do it? I read a forum where a few methods were discussed, I was just wondering if anyone knew how he did it. Thanks

Edit: I also mic up each cymbal individually, and I record them....and I used to replace the cymbals because I didn't have good quality cymbals, so for the crash I put heavy noise gate to where there is only a slight tip sound, so drumagog can pick up the sharp sound wave and trigger the cymbal, now the velocity does not work so well this way....but I do the same for the rest...**A little Lesson of how you can do it**


*remember it's just a question
 
You highpass the overheads and it cuts out most of the sound from the kick, snare, and toms. You can still hear them if you solo the tracks but in a full mix with layers of guitars and vocals over them it's so quiet it's not even audible in the mix
 
Oh I have had plenty of problems with highpassing overheads, for some reason I can still hear the click sound. I just want to know how Joey does it. In the studio diaries it shows the drummers drumming, I just want to know if they are really playing the drums or what.
 
I don't understand the issue you're having? Yes they play the drums. Yes, you can hear the drums in the OH track - but it just blends in with the sample you're using for the actual snare sound, so it's not like you get flamming or phase issues or anything.
 
He has them play the kit like a normal drum recording would go, and then he replaces the kit. It's really nothing special at all.

I can tell you FOR FACT that on the upcoming Silent Screams, Color Morale, and Of Mice & Men albums there was nothing abnormal about his drum tracking, and it's not like his workflow for tracking drums has changed drastically in the last year or so.
 
I gotta say I am excited for those albums to come out. I also heard that he is used straight up live drums for the new Emmure Album.
 
I gotta say I am excited for those albums to come out. I also heard that he is used straight up live drums for the new Emmure Album.

I'm pretty sure he has never done an album with live drums, unless by live drums you mean he took samples from the drummer's kit and replaced them after, which I think he has been doing a lot nowadays to get away from the Slate stuff

...in which case it's not natural drums, they're still replaced
 
Sorry for the OT, but the new Emmure sounds indefinitely like Slate.
And it sounds like he still uses Slate kick on his newer stuff too (with the exception of WCAR)

But anyway, Like it has been stated, he doesn't do anything special. Just highpass the overheads/room and you're good to go.
Shouldn't be phasing or bleed in the final mix (unless you have some really weird crazily high tuned drums on your kit lol)
And please, the Sturgis obsession is getting really old.
 
^^^^
Most definitely

Kinda upset he did that for Emmure though.
I much prefer the sound he is going to now.
But then again, his Emmure + Slate combo is legions better than [insert any band name here] + Slate he has ever done
 
I mentally facepalmed when I read the OP, but then realised that I was confused about the exact same thing when I started out, so..

You don't get rid of the drums in the OHs. You don't WANT to get rid of the drums in the OH. They keep the drums sounding real after all the sample replacement, glue the whole kit together, and are an integral part of ANY drum sound. How much drums you want in the OH varies by genre obviously, but having just cymbals through your overheads and the drums coming purely from close-mic'd samples would sound weird. If you have too much drums in your overheads (for example, you've edited the kicks separate to the rest of the kit to minimise artifacts), highpass them (at like 5-600hz, I wouldn't go higher) and/or limit them (either just slap a limiter on, or sidechain the limiter from the snaredrum).

Some engineers (this is rare) track the shells and cymbals separately. This makes it easier to use the natural sounds, as there's little nasty hihat bleed in your snare drum, etc. It might also help a little with artifacts with editing. But if you're going to be sample replacing, I don't think it's a good idea.
 
Doc sure catches a lot of shit in this forum, don't he?

On topic, you're doing it wrong. If you can't get a good enough sounding kit to record, don't record it. Garbage in, garbage out, you know. If you're wanting that polished, over the top, replaced-sounding kit, program some. Course, if you want Joey's way of doing things, ask him. You make less of a fool of yourself by doing that.
 
We should make a joey strugis question sticky, seems slot of guys get pissy about all the strugis questions
 
okay I hav thought about it, but i only wanted the slates for my cover album, which the guy I am doing it with already has state. I don't really want slate for myself because I enjoy just making my own samples and using free samples because I like the challege of blending and editing....
 
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