Splitting drum frequencies on separate tracks

[Studdy]

Anyone here splitting up drum tracks frequency ranges on different tracks. Example when processing bass I tend to split it up into lows and highs on separate tracks, is anyone doing this with kick drums? If using multiple samples , example one for beef , one for crack , what eq roll offs are generally happening. Different compression settings on low parts of kick drum than the high? I generally mix drums fairly standard, looking to hear some of your approaches.

Thanks \m/

 

[egan.]

Certainly I think people pick samples to address a different range and timbre issue. Beyond that the only thing I'd personally do a spit for is toms. I've done variations on this but in his creative live Ballou outlined a technique of splitting tom tracks so that the high would fade quickly to eliminate bleed but the lower freq resonance stuff was allowed a more natural decay.

 

[alex-sonic]

Interested with this thread, how you guys do you mix blended samples? The same way studdy said or another way?

 

[EOC]

I tried to split the kick several times. I achieved interesting results, but sounded kind of unnatural... What I do a lot is blend samples. I try to build up the sound by choosing the right ones instead of having to get with eq something that is not there in the beginning (for example snare beef) so on the end the process is more about getting the volume of each sample right than having to super process everything. So, I choose my samples,sometimes a lot of them, ride the faders, and then some sculping on the bus with minor eq and compression

 

[agentmetal]

Yeah, it has helped me a lot in eliminating cymbal bleed on close-miced drum tracks. Just choose the splitting frequency so that most of the cymbal bleed lies above and the shell resonance lies below - if it works, it should be around 800-1000 Hz. Then set up a fast gate on the high band, and a slower one on the low band. This way, cymbal bleed will be eliminated but shell decay and stick attack will be preserved. If you have a transducer ("trigger") track and a gate with a sidechain input, using the transducer signal to trigger the gate will probably give better results.

 

[Christian WUFU]

Tried this on a kick track recently with fairly good results. I just used a hi shelf to reduce the amount of high end on the "low" kick track. For the high end track I left the low end intact, but went to town boosting the attack frequencies I liked. Bussed them together and brought the "high" track up to taste. Overall I think the low end was much more pronounced while leaving more room for the higher frequencies to do their own thing. It's not something I plan on dojng all the time, but I will mess with it some more to see if I get it right, so to speak.

 

[Studdy]

Tried this on a kick track recently with fairly good results. I just used a hi shelf to reduce the amount of high end on the "low" kick track. For the high end track I left the low end intact, but went to town boosting the attack frequencies I liked. Bussed them together and brought the "high" track up to taste. Overall I think the low end was much more pronounced while leaving more room for the higher frequencies to do their own thing. It's not something I plan on dojng all the time, but I will mess with it some more to see if I get it right, so to speak.

Same Duplicated Track???

 

[Christian WUFU]

Same Duplicated Track???

Yessir. Also worth mentioning that I did this after blending my samples together. I basically treated it the same way I would using a sub kick track, and the kick Mic in track if that helps put it into perspective

 

[Studdy]

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