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after i do auto-align to my drums All the other tracks its not syncing 100%
Old 14th December 2018
  #1
Here for the gear
after i do auto-align to my drums All the other tracks its not syncing 100%

After i do auto-align to my drums
All the other tracks its not syncing 100%
Especially a bass guitar
And that makes sense...

I adjusted the drum channels according to the HO channel
so, the BD move up more than 300 sample...

I'd love to know what you think
Old 15th December 2018
  #2
Gear Maniac
 
Nir@SoundRadix's Avatar
Hi @ dudiclass

To preserve the original performance timing, we recommend aligning the overheads/ mono kit mics to the top snare mic first, before aligning other close-mics to the overheads.

After aligning the overheads to the top snare mic, set the same instance of AA on the overheads to another SEND bus to use for other mics.

Here's a typical setup example and alignment order:
  1. Snare Top: SEND 1
  2. Stereo Interleaved Overheads: RECV 1, SEND 2
    (Alternate: Split Stereo OH - Left OH: RECV 1, SEND 2, Right OH: RECV 1, SEND 3)
  3. Mono Kit Mic: RECV 1, SEND 4
  4. Snare Bottom: RECV 1
  5. Main Kick: RECV 4, SEND 5 (Mono kit mic placed at the center of the kit usually has a more representative energy and frequency response of the kick in the set)
  6. Secondary Kick: RECV 5
  7. HiHat: RECV 2 for stereo overheads RECV buss to the HiHat's side overhead
  8. Rack Tom Top: RECV 2 or relative overhead mic, SEND 6
  9. Rack Tom Bottom: RECV 6
  10. Floor Tom Top: RECV 2 or relative overhead side, SEND 7
  11. Floor Tom Bottom: RECV 7
etc.

Distant room mics can either go with the top snare mic or mono kit mic. To preserve the delay or expand the sense of space while optimizing correlation, use the Next / Prev buttons to jump from peak correlations Auto-Align has found during the detection process.

In cases where the kick (or other sources) doesn't have significant energy in the overhead mics, aligning the kick to the overheads won't be beneficial.

Happy alignment!

Nir
Old 15th December 2018
  #3
Here for the gear
Thanks for the response, but ...
(It would be nice if they were written on your site)

After making - aligning As you recommend
Indeed, the BD drum is less than 120 Sample and not 320 According to the previous reference I made


Does not it make sense to move all the drum channels backward by the amount of delay of the BD IN drum?

If (for example) the amount of delay in a BD IN drum is 120 Sample
So- just move all drum channels 120 Sample backward

So they will be in the same total timing with the rest of the mix channels?
Unless all channels are recorded after a correction is made

It would be nice to hear your opinion on this subject
Old 15th December 2018
  #4
Gear Maniac
 
Nir@SoundRadix's Avatar
Quote:
Originally Posted by dudiclass View Post
(It would be nice if they were written on your site)
What's the best way to align multi-track drums recording?

Quote:
Originally Posted by dudiclass View Post
Does not it make sense to move all the drum channels backward by the amount of delay of the BD IN drum?
It sure does if you have used a distant mic as a reference to align your close-miced shells.
Old 15th December 2018
  #5
Here for the gear
thank you for the quick reply...
I just now I found the link to instructions and questions about...
now everything is clear

What it says about drums A little different from what you have recorded here in repentance

-----------------------------------

1 Align the Overheads mics to the Top snare mic (Top Snare = SEND1, Overheads = RECV1).

2 Align the Bottom Snare mic and any additional Snare mics to the Top Snare mic (RECV1)

3 If the Overheads are recorded onto a interleaved stereo track, set the same Auto-Align to SEND2(*) otherwise, set the Left Overhead to SEND2 and the Right Overhead to SEND3.

4 Align the main Kick mic to the Overheads (Kick RECV2, SEND4), if there are additional Kick mics, align them to the main Kick mic (RECV4).

5 Align the Top Tom mics to the Overheads (RECV2 or RECV3 in correlation with their position), if there are additional Tom mics, align them to the Top Tom mics.

6 Align the Hi-Hat mic to the Overheads (RECV2)

7Align the Room mic to the Top Snare mic (RECV1). If you would like to preserve some of the delay between the microphones while still improving phase correlation, use the Next / Previous buttons to move the timing of the mic further or closer in time to the next correlative position.


Thanks again
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