random question to people who record and keep snare tracks
- Thread starter joeymusicguy
- Start date
JeffTD
Senhor Testiculo
Sorry dude, but tuning drums is part of the engineering process. If you want to get good sounding drums without sample replacement, get used to tuning.
+10
i notch EQ like a champ. im willing to bet so do the pros. especially when they are getting productions they didnt record themselves and have no control over what happened during tracking.
the truth kit.... that got me chuckling... !
Ionei
Member
I think i remember you saying something about you liking mastering your own stuff because you want it your way.
Drum tones should be the same man.
If you know hows to tune you know how to tune how you want and what you think fits the song.
+1ing
drums being part of the engineering process.
barricade
Giggity Geschmougen
- Oct 31, 2007
- 803
- 1
- 16
+1 to that...
Get used to a Tama Tension Watch... write down the numbers you get on the meter...then check it every 30min at first and just tune it up to the tension number again if it gets out of tune!
Morgan C
MAX LOUD PRESETS¯\(°_o)/¯
I fucking hate snare drums, real or sampled or commercial its the hardest part of the mix to get right. And then you master it.
But yeh I always have the same issue as you Joey. You don't really notice it a whole lot in the mix, especially after a bit of a compression, but I definitely want to get better raw sounds. I made this thread:
http://www.ultimatemetal.com/forum/equipment/580979-dry-snare-sounds.html
Which might help you out.. what heads were you using in that clip?
Also I've been thinking about backing the mic off quite a bit, since I get fuck all bleed, that's not a problem. Hopefully will get that done tomorrow and post results.
But yeh I always have the same issue as you Joey. You don't really notice it a whole lot in the mix, especially after a bit of a compression, but I definitely want to get better raw sounds. I made this thread:
http://www.ultimatemetal.com/forum/equipment/580979-dry-snare-sounds.html
Which might help you out.. what heads were you using in that clip?
Also I've been thinking about backing the mic off quite a bit, since I get fuck all bleed, that's not a problem. Hopefully will get that done tomorrow and post results.
Skaldir
formerly known as Unicorn
These ringing and resonant stuff in the close mic at the snare top is normal I'd say. Atleast I also always have those in the close mic on top.
Sometimes I also start to find those and eq them out very narrow, but mostly in the mix you don't hear that ringing stuff if you leave it in.
Sometimes I also start to find those and eq them out very narrow, but mostly in the mix you don't hear that ringing stuff if you leave it in.
darthjujuu
Member
MOONGEL. MOONGEL. MOONGEL. MOONGEL. MOONGEL. MOONGEL.
I CANNOT live without it. if there's no moongel, put a wallet on the snare and make the fucker track the whole album like that. seriously.
I CANNOT live without it. if there's no moongel, put a wallet on the snare and make the fucker track the whole album like that. seriously.
not joel per say
i mean, i love those dudes and everything
im just really tired of the truth kit scene, if you know what i mean.
This man speaks the truth. The Genera HD Dry heads are my favorite on snare by far.
Ermz
¯\(°_o)/¯
Do you guys tend to 'skim' the snare mic across the surface of the drum, or try to get it elevated and point down at the center? It's always the distances and directions that get me. What I tend to lose most is body, and there's always ungodly hat spill that makes the snare track almost unusable.
my post processing advice to get rid of hh bleed is :
use 2 tracks,
- 1 with a spl transient designer w full attack and no release. and boost the highs.
thats where you get your attack cracky stuff. (but use a gate to filter out anything else before transient designer does his work. otherwise hh, crashes etc. will be overemphasized)
- 1 with spl trans w no attack an full release. thats where yo udont want to boost highs that much.
this way you can minimize the "ugly hh bleed". you pretty much only boost highs on the attacks,
not the sustain.
what i do lately to preserve dynamics in my snare tracks : attack is the real one, (as described spl trans on full attack, norelease) but sustain i use samples... imho the most natural way, still have really clean snares for my mixes.
use 2 tracks,
- 1 with a spl transient designer w full attack and no release. and boost the highs.
thats where you get your attack cracky stuff. (but use a gate to filter out anything else before transient designer does his work. otherwise hh, crashes etc. will be overemphasized)
- 1 with spl trans w no attack an full release. thats where yo udont want to boost highs that much.
this way you can minimize the "ugly hh bleed". you pretty much only boost highs on the attacks,
not the sustain.
what i do lately to preserve dynamics in my snare tracks : attack is the real one, (as described spl trans on full attack, norelease) but sustain i use samples... imho the most natural way, still have really clean snares for my mixes.
Aaron Smith
Envisage Audio
Kind of in between for me- not total "skimming", but definitely not aimed too squarely down at the drum. Maybe like 30 degrees? As for hat bleed, if the hat is raised above the snare height enough (if it's not, make the drummer raise it), it works best for me to try to put the mic directly between the hat stand and snare as much as possible, to try to get the hat into the mic's rejection zone. The height of the hat compared to the snare also might play a role in how much of an angle you place the mic...meaning if you can get a noticeable improvement in bleed by tilting the mic higher/more towards the actual hat cymbals, then go for it.
