Quote:
Originally Posted by metalfan8806  Okay- the cymbal part of what he said may or may not be a good piece of advice. If you're doing louder/heavier music..or you plan on replacing snare/kick/toms etc etc- then I wouldnt really worry about how hard he's hitting the cymbals. cause honestly- if his snare is a big player in the overheads instead of the cymbals...guess what you have to try and EQ and blend together?
yup- the snare sound that you thought you would have control over and the one thats dancing allllll over the overhead tracks now.
If its softer music..where you really desire an overall balance in the overheads..then yes- appropriate cymbal quality and how hard he/she hits them will be very important.
ANYWAYS:
Here's a quick list of things you can try:
-Once the kick drum mic is in position correctly, lay a thick blanket over it...to minimize bleed both ways.
-Experiment your overhead placement...ie: move them from center to outsides, or from sides to front and back. etc etc
-Be very mindful of where your mics are facing..if you have your high tom facing downward towards the tom where the ridiculously loud snare if banging away- then yes you are going to have some serious bleed...that even the beloved gate wont be able to fully hide. So get creative and dont just assume you have to always place mics in the same spots on the kit.
(this means..mic'ing the bottom heads could be an answer)
-Try improvised means of isolating the microphones from outside interference. Example: Put white foam cups over the mic to help shield it from the splash cymbal 2 inches away. etc etc
-And in regards to the idea of putting up blankets in the room and such...i would totally do that...IF you are having issues with the room. Like if you are in a garage and sweet Lord i hope you arent  |
well honestly not getting that much bleed out of the bass drum mic... i put it in the bass drum about 40-45% and fire it 90degrees at the shell. it sounds pretty metal sounding... i could be off by miles, but this is how i was taught by some pretty prestigious people who have shown me killer tracks. and i jhave been able to get rid of excess bleed easily with a limiter so i can always revisit that.
as far as those auralex things go, im not throwin my money into that when i could put it into the room itself or get some sunbursts or somethin.
i may try the foam cup idea for the snare... if i put the mic any closer than i have it, im litterally OFF on the pre, and its still clipping. so im guessing thats gonna need a pad no matter what i do.
as far as my main concerns most of my bleed is coming from the tom mics... *im using 57's* trying to figure out exactly how to really minimize the bleed on those most of all... im getting snare, cymbals, hats everything comin through those... i cant edit around it cus when a quick roll comes in, i still got a previous snare rattle or hat sizzle still happening or cymbal ringing so it just sounds ********.
our drummer is not really experienced in the studio... he's pretty solid live, can play tight to a click, but not exactly the best at finesse on hard hits.
overheads i tried x/y pattern for overheads, but i've always been told the higher they are the better,*any suggestions* and for room mics the wider they are the better. * as long as it isnt 30% larger than the width of the kit itself.
any help is still appreciated.