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#1
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8 tracks for drums - how'd you do it?
I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum. Maybe a shared tom mic would be better, use 2 for kick? Cheers, Dee |
#2
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8 tracks for drums - how'd you do it?
Try this if you like:
1) Kick 2) Snare Top 3) Snare bottom (it really depends on the kind of music you are playing) 4) Tom 1&2 5) FloorTom 6) OH / Ride 7) OH / HH 8) One figure of 8 mic in front of the kit used like in a M/S but without the "M". You can use this as the "room" mic. F. |
#3
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8 tracks for drums - how'd you do it?
On Sep 24, 7:35 am, DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom, kickdrum. One snare, seven room? It all depends on the drum sound that you want, and that's largely dependent on the drummer and his drum setup. No generalizations here. |
#5
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8 tracks for drums - how'd you do it?
DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom, kickdrum. Maybe a shared tom mic would be better, use 2 for kick? Cheers, Dee What style of music? Is there a nice room? How big is the drumkit? It's gonna be real hard to answer this question without more information, but here's my $.02: If it's jazz or something like that in a nice room, use 4 mikes and 4 tracks, kick, snare and two overheads. Don't mike so close... what I mean is that I've seen some guys put the mikes 1/2" from the drumheads, that's too close... back them off and let the mike see more of the drum head. Don't get too close to the cymbals with the overheads, either. In the mix you are gonna start by using the overheads first and them bring the kick and snare mikes in for balance. Now for the other end of the spectrum... If it's something more pop, rock or country in a dry room (assuming a 5 piece kit) 1. Kick 2. Snare 3. Hat 4. Tom1 5. Tom2 6. Tom3 7. OH L 8. OH R You situation is more likely in between these two. You don't really need a mike on the bottom of the snare if the drums are set up on a wooden floor, you will get reflected sound into all of the mikes from the floor (a particularly nice sound usually), but don't let me stop you... there are lots of people who use a mike on snare bottom and top and their drums sound good too. |
#6
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8 tracks for drums - how'd you do it?
DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom, kickdrum. Maybe a shared tom mic would be better, use 2 for kick? Shared tom mic usually means that neither tom sounds good. I start with 2 oh, kick, snare top, and hat. Then I usually don't end up using the last two. geoff |
#7
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8 tracks for drums - how'd you do it?
OK Guys, thanks...I shoulda elaborated some...
The room is pretty much crap; concrete box with some damping, but definitely don't want room sounds. It's already a challenge to locate all that resonates when recording and tape it down in the room. Music is hard-rock, grunge type music. Hard-hitting drummer indeed. What I gather from your replies, it seems a separate mic for hi-hat might be a good idea? So overs, 1 for snare, 3 for toms, kick AND hi-hat instead of 2 for snare, hi-hat from overs alone. I worry some about leakage, the mics aren't that good. I think I'll try it both ways. Track number is unlimited but 8 inputs only. Cheers, Dee p.s. would you use a large-diaphragm mic like an AKG 414 for snare, or rather the regular SM57? |
#8
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8 tracks for drums - how'd you do it?
On Sep 25, 12:54*am, DeeAa wrote:
OK Guys, thanks...I shoulda elaborated some... The room is pretty much crap; concrete box with some damping, but definitely don't want room sounds. It's already a challenge to locate all that resonates when recording and tape it down in the room. Music is hard-rock, grunge type music. Hard-hitting drummer indeed. What I gather from your replies, it seems a separate mic for hi-hat might be a good idea? So overs, 1 for snare, 3 for toms, kick AND hi-hat instead of 2 for snare, hi-hat from overs alone. I worry some about leakage, the mics aren't that good. I think I'll try it both ways. Track number is unlimited but 8 inputs only. Cheers, Dee p.s. would you use a large-diaphragm mic like an AKG 414 for snare, or rather the regular SM57? Well if the drummer whacks your 414, you're out one of your better mics. The 57 is fine most of the time anyway. Drums recorded in a box such as you describe, especially cymbals tend to lack an open sound. You can open that up a bit if you use an omni pattern on the overheads, even close miced. MS is cool too if you have a pair of 414's, you can enhance the stereo width later. Alternately if you have a PZM or omni lavaliers, you can tape them to a low ceiling, maybe with a baffle between them. Will Miho NY TV/Audio Post/Music/Live Sound Guy "The large print giveth and the small print taketh away..." Tom Waits "The large print giveth and the small print taketh away..." Tom Waits |
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