"brand.smith" wrote:

Yes, I am referring to overheads... and since i'll be using drumagog to
replace the kick and snare, it's not as desirable to me to let these drums
come through on the overheads.

In that case, I'd seriously consider tracking with electronic drums
and real cymbals. I suppose you could spot mic each cymbal, but
you're gionna get plenty of kick and snare in a set of overheads
that can "see" all the cymbals.

I know - you don't have an electronic kit, but you're essentially
emulating one wiht live drums and Drumagog. An electronic kit
seems to me a system with fewer components.

The problems with spot micing each cymbal will include lack
of real image of the drum kit ( to be made up later by
panning ), lack of distance from the cymbal ( resulting
in a skewed picture of the cymbal and a distorted
note envelope ) and managing the sheer nummber
of tracks. Cymbals want some room to stretch out in.

With electronic drums and live cymbals, you can also track the kick,
toms and snare as MIDI, allowing you to bypass Drumagog altogether.

What you're doing sounds much more painful than just tracking
live drums. Besides, wouldn't the output of Drumagog more or
less mask what's coming into the overheads anyway? Don't be
obsessed with isolation, especially with drum recording.


thanks
Brand Smith - SonicAlchemyWorkshop Studios

"David Morgan (MAMS)" wrote in message
...

"brand.smith" wrote in message
news:ru6Ma.70497$R73.9826@sccrnsc04...

is it commonplace/advisable to apply lo-cut to cymbal tracks... if so,
at
what frequency would the "desired" tonality of the instrument be
compromised?
TIA,
Brand Smith - SonicAlchemyWorkshop Studios




Are you in reference to overhead mics ?

--
David Morgan (MAMS)
http://www.m-a-m-s.com
http://www.artisan-recordingstudio.com




--
Les Cargill