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Originally Posted by GPl Great Sound Steve! I'm loving the drum sound(and of course the drummer). Can you run us through how you approached the drum sound? Again, great job!  |
Drum sound was a Birch Pearl Masters kit, with mostly a Pearl Sensitone metal snare with a Remo Powerstroke 3 head. Toms had coated or clear Emperors. Kick had Aquarian Violator (i think thats what its called) one ply head.
Mics were a 57 taped to a MXL 012 on snare, Sennheiser 609s on toms, and a D-6 and FET 47 on kick I think. Overheads were MXL condensor mics, usually the V6s, although the earlier recordings like Run probably used something else since I hadn't gotten into the MXL thing yet. Room mics were all over the room and were basically every mic I had left over, be it a 57 (RUN) or some other condensors. Run had a mono room mic which was a 57 which I ran through a bunch of compression. A lot of times the only reverb I add is to the room mics, and sometimes I'll automate it to go in and out how I like, usually being triggered by the snare and toms. Sometimes I'll throw in some of the snare track to the reverb as well. The reverb I usually use is some kind of natural room sound via SIR impulse reverb.
I do use samples in my mixes, but for the Blackline album I was forced to use very little to no sample due to my drummer Jerry being very specific of his drum sound. He doesn't like samples and the natural drum sounds were really great on most of the tracks. What I did do was do the occasional mult on a snare and just whack it with eq to bring out the highs and lows and then I'd trigger it with the snare hits. Worked pretty good.
Room mics I whack with compression and I automate them to breathe within the track, sometimes they are way up, sometimes they are practically muted.
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