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Miking a snare top and bottom,, Why doesn't the phase flip sound any better
Old 19th January 2014
  #121
Quote:
Originally Posted by Podgorny View Post
There is a critical difference between spending time getting a sound, and spending time deciding which sound is right for a song. It does NOT take a professional engineer HOURS to get a drum sound, even if you include setup. But it can take MONTHS for a team to settle on what version of something they prefer. Most "wasted" studio time is spent on making trivial decisions. But the little things add up.
then why do the big artists takes weeks sometimes to do a drum set , tracking not included.
I personally think people are not putting in the elbow juice the wondering why they don't get the best sound possible.
Old 19th January 2014
  #122
Quote:
Originally Posted by phatbeatstudio View Post
then why do the big artists takes weeks sometimes to do a drum set , tracking not included.
I personally think people are not putting in the elbow juice the wondering why they don't get the best sound possible.
when you start doing complex micing that can take time, but probably your biggest reason for taking so long is more about that you have a combination control room, recording room, but regardless of what you're saying it really shouldn't take 8 hours, putting up room mics is probably a waste in a dead room so that cuts them out so how many mice can you realistically use? After a while an experienced engineer has starting points that are very close if not right for the recording, and if anything maybe there are a few small adjustments. Are you eq'ing and compressing on the way in? That would certainly add time
Old 20th January 2014
  #123
I put up about 16 mics, no room mics because i dont have any, but iv recently learned the snare sound i want relies heavily on room mic so those are in need for me. Yes i alway eq going in. but not as much as i used to. just subtractive to get rid of harsh frequencies. But i have actually changed my opinion about eqing going in i do less of it now or almost non at all
Old 20th January 2014
  #124
Quote:
Originally Posted by phatbeatstudio View Post
I put up about 16 mics, no room mics because i dont have any, but iv recently learned the snare sound i want relies heavily on room mic so those are in need for me. Yes i alway eq going in. but not as much as i used to. just subtractive to get rid of harsh frequencies. But i have actually changed my opinion about eqing going in i do less of it now or almost non at all
If your room is dead, room mics are a waste. What's your mic layout, I use generally around 16 mics and that's with room mics, 2 on the kick, 2 on the snare, the top and the shell, 1 hat, 2 on each tom, a pair of overheads sometimes a mic on the ride, and the room mics. How do you get 16 with no room?
Old 20th January 2014
  #125
Lives for gear
 

Quote:
Originally Posted by phatbeatstudio View Post
then why do the big artists takes weeks sometimes to do a drum set , tracking not included.
I personally think people are not putting in the elbow juice the wondering why they don't get the best sound possible.
I appreciate your passion, but understand there are so many variables to a drum sound.. ie a good drum tuner, the way the drummer hits the drums, your monitoring envioment, etc..

I usually spend 1 hour on drum sounds, (but I have been doing this professionally for 35 years) I make sure the drummer uses my costum snare, and vintage gretch kit. If he hits well that is 90 percent of it. By moving the drum mic 1/8 inch makes little difference compared to how he hits it and how well its tuned... and the quality of the drum room.. THE MIX PALACE STUDIO RECORDING ..

Also how accurately are you monitoring? You playback chain plays a huge role in the decisions you make.
Old 20th January 2014
  #126
Lives for gear
 
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My god. This is a thoroughly depressing thread.
Old 29th January 2014
  #127
Quote:
Originally Posted by MichaelAngelo View Post
I appreciate your passion, but understand there are so many variables to a drum sound.. ie a good drum tuner, the way the drummer hits the drums, your monitoring envioment, etc..

I usually spend 1 hour on drum sounds, (but I have been doing this professionally for 35 years) I make sure the drummer uses my costum snare, and vintage gretch kit. If he hits well that is 90 percent of it. By moving the drum mic 1/8 inch makes little difference compared to how he hits it and how well its tuned... and the quality of the drum room.. THE MIX PALACE STUDIO RECORDING ..

Also how accurately are you monitoring? You playback chain plays a huge role in the decisions you make.
I love how people always state the obvious like somebody who has been recording since 1998 did not know that. I am really starting to wonder how many of these people should be allowed to post.
Old 29th January 2014
  #128
Quote:
Originally Posted by phatbeatstudio View Post
I love how people always state the obvious like somebody who has been recording since 1998 did not know that. I am really starting to wonder how many of these people should be allowed to post.
Michael's forgotten more than you know about recording drums. https://www.facebook.com/themusicpalaceprogram
Old 29th January 2014
  #129
Quote:
Originally Posted by Trakworx View Post
I guess so, but "looking" the same can be determined with meters, no matter the panning. If sounding balanced is what you want, then no meter or panning will tell you that, only listening.
You're not trying to make a balance what you're doing with a phase box is getting the levels as close as possible to the same to when you hit the phase reversal you can dial in the IPB. After you do that then you listen for the balance between the 2
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