Overheads
- Thread starter Tachy
- Start date
::XeS::
Member
It depends from how you mic the OH's. Usually I avoid lot of snare's bleed only with an hpf...probably the mics point too much to the snare
John_C
formerly Skeksis268
i've been messing with fast attack/release multiband compression sidechained off the snare in order to kill everything under about 1500 Hz for a few milliseconds. Lets you keep some body to the cymbals without having much bleed. I'm still not happy with it though, i can't get the release quite right
Roll off low end and check phase with the rest of the kit...toms might be gone if you don't flip your overheads out...depends on the kit, and placement of mics...you can place them to avoid all these problems but there are always limitations.
Good thread.
Good thread.
abyssofdreams
knows what you think.
why would you limit the snare out of OHs or the room? That's where all the snare air is... and I love the added smack and punch the snare gives
gabriel g.
Member
yeah, but joey told us very often, that he has to edit the kit alot. So editing the snare is a real pain in the ass, if you have snare sounds in the oh.
Joey, for spot micing the cymbals, do you place the mics underneath?
I did this on a deathcore project: 2 AKG c1000 as classic Oh mics and then put 2 beyerdynamic opus 53 underneath the cymbals with phase switched. I think it works great
if you want check out: http://www.myspace.com/buryusallraw (with crappy myspace quali
)
Joey, for spot micing the cymbals, do you place the mics underneath?
I did this on a deathcore project: 2 AKG c1000 as classic Oh mics and then put 2 beyerdynamic opus 53 underneath the cymbals with phase switched. I think it works great
if you want check out: http://www.myspace.com/buryusallraw (with crappy myspace quali
)
joeymusicguy
Member
the snare is always louder than the cymbals, even if the drummer is hitting everything too hard.
maybe its how i mic stuff, but it works so i dont mess with it.
the snare peaks are much hotter than the cymbal peaks. the cymbal transients actually never get touched.
joeymusicguy
Member
its to remove the snare peak from the cymbal tracks. i dont want the original snare to be over powering the actual replaced snare. the snare coming through the room and overhead mic's still remains in the mix, and is actually a part of the final snare sound even with replacement, but by limiting it i remove the funky unwanted "pop" it can create in the mix. its hard to explain without you sitting next to me with one of my projects open.
joeymusicguy
Member
yeah, but joey told us very often, that he has to edit the kit alot. So editing the snare is a real pain in the ass, if you have snare sounds in the oh.
Joey, for spot micing the cymbals, do you place the mics underneath?
I did this on a deathcore project: 2 AKG c1000 as classic Oh mics and then put 2 beyerdynamic opus 53 underneath the cymbals with phase switched. I think it works great
if you want check out: http://www.myspace.com/buryusallraw (with crappy myspace quali
all my drum edits for quantizing are "in phase" among the tracks. im not moving the snare around without moving the overheads with it, in other words the edits i'm making are phase coherent across all the channels. this is actually really important to the sound because even though im limiting to "kill" the snare, it still remains in all of the mic'd tracks and becomes apart of the final "snare" sound. its just much quieter in volume in comparison to not limiting those tracks at all.
when i spot mic, i find the best sound for the cymbal, it ends up being different all the time. i've mic'd splashes and rides from above and below, you just have to experiment with the drummer, his cymbals, and how he plays.
gabriel g.
Member
abyssofdreams
knows what you think.
ah okay, if you are aiming towards replacing anyways that's a good point.
but that pop transient isn't bad, is it?
joeymusicguy
Member
actually it is... i've never been able to work with a poking snare in the overheads
even when i had DFHS i would just "volume out" the snare bleed in the oh track
it sounds ike someone clapping their hand next to your ear, instead of a fat snare bitch slapping your face
joey
what type of settings are you using to get rid of snare. I tried doing it yesterday and seemed to affect the cymbals. I can hear that pop sound big time now, which is real annoying in this recent project i am doing. thanks
what type of settings are you using to get rid of snare. I tried doing it yesterday and seemed to affect the cymbals. I can hear that pop sound big time now, which is real annoying in this recent project i am doing. thanks
snare transients will typically be more pronounced than anything else on the kit...so setting the limiter with a super-fast attack with the threshold at a level where only the snare peeks through will lower its perceived level in the OH's
joeymusicguy
Member
threshold and output -15 db on waves L1 or L2 (but levels are relative, depends on how hot your track is)
you'll have to experiement where to put the high pass filter (before or after limiter)
usually works well before
you'll also need to use a high pass filter that allows you to adjust the db per octave, so you can have necessary control of the mid range at the cross over
joeymusicguy
Member
i usually set the release to ~20 ms so that the entire hit is removed, turning into pure sustain, no trans
"I like to sweep with a parametric eq and dial out alot of midrange muck."
dudes... this is the way it is done... Eq sweeping is definatly by far the most efffective way of boosting wanted sounds and lowering unwanted sounds... if you know what you are doing... and if you dont... all you can do is learn
Joshua Wickman
Yes Sir!
Joey Mono room mic huh? Are you making a stereo track after recording and panning it out, or do you leave the room mic a mono track and pan center?
Also if the drummer is sloppy on his feet and you make your own kick track in parts (running kicks) with samples or whatever. The room mic would have that sloppy mess in it and seems like a pain. Any tips on that or basically you have to..
A. Have the drummer just not play the kicks in sloppy parts when tracking or...
B. Have a great drummer that can actually play 16ths on the kicks.
Before you can use the room mic.
Also if the drummer is sloppy on his feet and you make your own kick track in parts (running kicks) with samples or whatever. The room mic would have that sloppy mess in it and seems like a pain. Any tips on that or basically you have to..
A. Have the drummer just not play the kicks in sloppy parts when tracking or...
B. Have a great drummer that can actually play 16ths on the kicks.
Before you can use the room mic.
