taking cymbal bleed out of tom mics

[jet_dry]

Hi guys, I'm working on drum tracks a friend gave me and I'm trying to get out a ton of cymbal bleed that came in the tom tracks. I try to roll off the highs between 4 and 6 k, but end up losing quite a bit of presence off the toms also. Any tips how to get around this? I'm thinking of messing around to get the higher frequencies from the overheads or room mics.

thanks

 

[egan.]

Hi guys, I'm working on drum tracks a friend gave me and I'm trying to get out a ton of cymbal bleed that came in the tom tracks. I try to roll off the highs between 4 and 6 k, but end up losing quite a bit of presence off the toms also. Any tips how to get around this? I'm thinking of messing around to get the higher frequencies from the overheads or room mics.

thanks

Automate the tom volume or strip silence. Try to replace hits that have a lot of bleed with clean ones from elsewhere on the track (or samples of the kit if he took them). You'll just ruin your toms if you try to eq it out IME.

 

[Fox Mulder]

Automate the tom volume or strip silence. Try to replace hits that have a lot of bleed with clean ones from elsewhere on the track (or samples of the kit if he took them). You'll just ruin your toms if you try to eq it out IME.

+1

Jet_dry, if you're not on some passage with the toms and cymbals playing at the same time you should be fine. If you're worry about cymbal sustains in your tom tracks, don't worry at all. IMHO you're better off using a gate, but instead of completely taking everything out with the gate you could bring down the leakages to a very low level. Otherwise it gets really messy, you get what I mean. The toms of countless records have been treated this way and they sound great. Look at Disturbed's Indestructible for example. Or even System of a Down's Toxicity. If you're not satisfied and you want that super-augmented feel, go with triggering/replacement.