Salsa/Latin Recomendations

[tonio]

Hi All,
I know most of yall are rocknrollers , but anyone have experience with Salsa/Latin sessions?

Looking for recomendations for micing and processing of congas in specific.

Thanks

Tony

[Drumsound]

I haven't recorded Salsa, but I've recorded congas a decent amount. There are a few methods that have worked for me. I like a large diaphragm condenser about three feel off the drums at about the players head hieght. If approriate, onmi is nice here. The other thing is to close mic them like toms. Standadr tom mics work here.

Make sure the drums are on wood. If it's a a traditional salsa band I assume the player will bring a plywood board. If you have wood floors, you're good to go.

[Jay Kahrs]

If it's rock or a fairly busy busy/thick arangement I usually close mic. One, maybe two mics depending on the sonic goals and what will be out of the players way and whatever else is around. My first grab is a 421 or 414TLII or EB, a B/ULS will work with a bit of EQ added to get rid of the low mids. Use a compressor with a fast attack and release. The Valley Dynamite is killer for this, Aphex Expressors, an RNC, dbx 160, Distressor etc. The biggest thing is to keep them off the floor. You want to have them on a stand. Years ago I worked with a Hatian band and I remember the players sitting on something and supporting the congas (they had one each) with their ankles.

[tonio]

Tony- I've pretty much done congas in rock , jazz, r&b and other
non specific genres.
1-414 or spaced pair about 2' up usually does the trick. Or I use
Omni on occasion. I usually use ev408, D2, 421 up close depending on whats going on with the ambience for full busy mixes.
And of course on wood, and/or stands depending on performer.

Jay- using ULS here, and some eq is somewhat required, but I do most of that at mix time. But I do watch the LF filters to dump any accesive LF. I usually cut @75hz.


So the problem is with Salsa congueros. I mean if you listen to some of the 'authentic' Salsa tunes of current crop, HF -mainly the slaps its like they are on steroids or something, yet the open tones are there like in any other genre.
I even tried out the technique of micing under (for lows) and above (for highs), but did'nt seem to get much out of it like you would with a snare. Maybe some more tweeking is needed?

I starting to think that its more in the mix than tracking or teh use of some colored comps-any opinions? Don't have much in that department, so it may be another option to look into.

Hey does'nt Thrillfactor have many Salsa sessions under his belt?

Thanks

Tony

[Drumsound]

Originally posted by tonio


So the problem is with Salsa congueros. I mean if you listen to some of the 'authentic' Salsa tunes of current crop, HF -mainly the slaps its like they are on steroids or something, yet the open tones are there like in any other genre.
I even tried out the technique of micing under (for lows) and above (for highs), but did'nt seem to get much out of it like you would with a snare. Maybe some more tweeking is needed?



Thanks

Tony

If the slaps are sticking out and the open tones are not, you should discuss performance with the conguero. According to my previous conga teacher (Rubin Alverez in Chicago) the accents are the open tones. In most of the salsa recordings that is the case.

Could it be location of the drums in the room? Maybe a gobo to absorb a bit of the high frequency of the slaps so they aren't so bighty?

[joeq]

I second the wood recommendation. the congas should be over a wood floor. If you have carpet, even a slab of plywood will do.

[tonio]

Well I do have wood floors, so good there.

Sorry for the confusion.
Actually the slaps vs open tones are good!! <>> the performance is good. I'm needing to get the slaps to be more colored, I guess the use of the word steroids was misused. If you check out some of the Salsa stuff, the slaps are crispier / splats? I don't think its just eq'ing at the right feq, Iv'e done that to no avial. Its like a comp or something.

T

Originally posted by Drumsound
If the slaps are sticking out and the open tones are not, you should discuss performance with the conguero. According to my previous conga teacher (Rubin Alverez in Chicago) the accents are the open tones. In most of the salsa recordings that is the case.

Could it be location of the drums in the room? Maybe a gobo to absorb a bit of the high frequency of the slaps so they aren't so bighty?

[tonio]

I was just thinking would it be time to employ the SPL Tansient Designer?

[Jay Kahrs]

I still haven't used one of those. It could be very cool. Give it a shot.

[Drumsound]

Originally posted by tonio
Well I do have wood floors, so good there.

Sorry for the confusion.
Actually the slaps vs open tones are good!! <>> the performance is good. I'm needing to get the slaps to be more colored, I guess the use of the word steroids was misused. If you check out some of the Salsa stuff, the slaps are crispier / splats? I don't think its just eq'ing at the right feq, Iv'e done that to no avial. Its like a comp or something.

T

OK, try a mult of the track(s). On the mult just find the sweet spot for the slaps, mix it in with the other to taste.

[tonio]

Originally posted by Drumsound
OK, try a mult of the track(s). On the mult just find the sweet spot for the slaps, mix it in with the other to taste.

Bingo, thumbsup I'll give it a try and report back.

Tony

[tonio]

Well, we had another session for a couple tracks, and some mixing. Just wanted to let you know, that multing it out did help alittle. Better tracking was the ultimate sound , however.
More reflective panels in the room, plus better choice in mic-inthis case a(one instead of 2)421's for two congas, with a little eq tweak.
some day I'll get the Transient Designer to see what it can do. But for now (since I don't have a full pocket) it worked out.

Thanks for all the contributions!!

Tony

Originally posted by Drumsound
OK, try a mult of the track(s). On the mult just find the sweet spot for the slaps, mix it in with the other to taste.