Just wondering how some of you folks treat Room Mics in a mix eq, compression, and level wise... I'm working on a rockish/metal band where I recorded 2 seperate room mic configurations, a mono mic (royer 121) about 5ft away from the kit level with the top of the kick drum (mainly to emphasize some more extra kick and snare in the center of the mix) and then I recorded an M/S stereo pair about 10 - 15ft away from the kit which captured the center of the kit and toms and reflections off the wall. Any tips on utilizing these 2 room mics to help add ambience and punch/impact without washing out the overhead cymbals??
Treating Room Mics in a mix...
- Thread starter MarcusD777
- Start date
ffaudio
Member
I like stereo pair rooms. I tried a mono room a few times, and while it sounded great, to me it killed the stereo imaging of the kit. I guess if you sidechain gate it to open on the snare hits that would work.
I usually squash the room mics. Generally if I do I have to do some lowpassing to tame the cymbals.
Unfortunately I don't use M/S so I'm not sure how to go about using them.
I usually squash the room mics. Generally if I do I have to do some lowpassing to tame the cymbals.
Unfortunately I don't use M/S so I'm not sure how to go about using them.
devouredremains
Matt Van Daele
I like smashing them quite hard with one of the Abbey Roads TG12413 Limiters and for a free option which can obtain nearly identical results take a look at http://www.tinbrooketales.com/archive/files/TLs-2095-LA_v1-1.zip. This technique works great with pzm mics as well.
