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BIG ROOMY DRUMS!!!
Old 3rd February 2007
  #1
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chymer's Avatar
 

BIG ROOMY DRUMS!!!

Ok,
So, Im going into a studio to record some drums and Ill do everything as per usual...but....
Theres a section of the song for about 8 bars that needs a big slamming open roomy drum sound, something that really makes the listener go "WOW, THATS MASSIVE!!!", and I was wondering if there were any tricks while tracking I can do to augment my usual drum setup which allready includes several room mics BTW.
I wanna experiment and have some fun and here are some of my own ideas and feel free to add your own.
I would usually just compress/EQ the room mics but Im looking for some other mind altering ideas:-)

-send the drums (kick, snare) to a guitar amp in another room and mic up the room and smash it if needed, maybe even 2 different guitar amps in different rooms so to increase the width factor.

- using a couple of cheap "radio shack" lapel condenser mics, and tape them to the room mics (keeping good phase) and then maybe distort them or smack em good and blend em in when needed.

- use big roomy smacked kick and snare samples when mixing to augment the drums....I usualy do this anyway, but I wanna have FUN when recording....

Any more cool ideas guys????? The studio is pretty well equiped with a large live room and a couple of small amp rooms, plenty of mics and pres, couple of 1176, 2 distressors and an SSL....

Chymer
Old 3rd February 2007
  #2
tsd
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tsd's Avatar
 

transient designer on a mono room ribbion mic
Old 3rd February 2007
  #3
Record them through a PA and process it and mix it in to the original.
Old 3rd February 2007
  #4
tsd
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BTW which studio are you going to?
Old 3rd February 2007
  #5
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chymer's Avatar
 

The studio doesnt have a Transient Designer, but I do have waves trans X plugin, which Ive tried in rooms with little love......
What settings are you suggesting for the Trans D? Do you think getting rid of the attack is best or accentuating it is? Im guessing its best to remove the attack and bring up the sustain so it kinda pumps a bit.....anyway.

The studio Im going to is LEVEL 7. Its where the original STUDIO 301 was here in Sydney......My mate Dan Jones of Savage Gardens success opened up shop here.

chymer
Old 3rd February 2007
  #6
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numrologst's Avatar
hey

A few ideas to consider...

Lately I have been using 3 stereo pairs of room mics... I know it seems crazy to some, but I have had huge succes with this method.

I like to have my core drum setup just in case as well...

My core setup being 414's spaced pair of overheads... over top of kit...

421 on snare, 421 on toms, d6/kickpad on kick.

So I know no matter what I have a good basic drum sound.

I would usually use my regular preamps for this.

Then as a wild card for snare... I would also put another dynamic(57,i5) on the top of snare and hard overdrive a groove tubes brick... This is a novelty effect that i use when i want a crack out of the snare.

The second wild card snare option is a 421 on the floor behind the drummer... usually pics up alot of the bottom of the snare... Also a nice effect for crack.


Then for my 3 room mics... This is the biggest key... In addition to the overheads... I would use a spaced pair of r84's about 3 feet in front of the kit, about cymbal level... Then about 10 feet behind the r84's I use a pair of sm81's also a spaced pair. Then at the very back of the room, i take an xy pair of c451b's about 2 feet below the ceiling facing the opposite direction of the drums... Alternately if there is distance behind the drummer I would place the middle room mics(sm81's) and put them the same way i place the 451's just on the opposite side of the room.

Then i would smash one of the pair's of room mics with the distressors... I usually smash the far room mics.

Alternately sometimes i would put the far room mics in another room that the live room opens up to and record the sound that makes it into that room. This can also be pretty cool.


Then upon mixdown... I would have both overheads panned center... The first set of room mics would be panned 25/85... The second pair of overheads are panned 45/45 and a little lower in the mic... Then the crushed room mics get panned hard left/right... Snare/kick/panned center. And I obviously adjust the pans so that hi hat centered and ride is center heading right.

For the effect the driven snare could be sent to a reverb totally wet and panned 45 either left or right... Then you could cut out snare hits on that mic so that if you were in 4/4 you hear a reverb snare on the right on 2 and 4... Just an idea, but it can be a nice effect.


But that's my idea and one of my most recent drum sounds.
Old 3rd February 2007
  #7
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beechstudio's Avatar
 

An old 80's trick is to process them through an Eventide (If you've got one). Talk about HUGE!
Old 3rd February 2007
  #8
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allencollins's Avatar
 

Quote:
Originally Posted by thethrillfactor View Post
Record them through a PA and process it and mix it in to the original.
Is that why nirvana's drums sound do bad?
Old 3rd February 2007
  #9
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Alexi's Avatar
 

.awesome advice guys....any sound samples you guys would like to share?


greetings


alex
Old 3rd February 2007
  #10
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Jason Poulin's Avatar
 

stereo pair placed somewhere where it captures what you're looking for. pair of R84's are cool



then introduce your track to a pair of Distressors and lay it on bigtime!





Jason
Old 3rd February 2007
  #11
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Alexi's Avatar
 

Quote:
Originally Posted by beechstudio View Post
An old 80's trick is to process them through an Eventide (If you've got one). Talk about HUGE!
which eventide reverb setting is good for this application?



cheers


alex
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