Forostar
Ancient Mariner
@national acrobat or @Dr. Eddies Wingman
The first is English, the latter has a relatively deep voice, although Nush's isn't bad either. I'd say, whoever it's going to be, the result will be memorable.
Anybody up for a forum collaboration?
- Thread starter Yax
- Start date
The first is English, the latter has a relatively deep voice, although Nush's isn't bad either. I'd say, whoever it's going to be, the result will be memorable.
I just think it makes more sense to have everyone record over the same drum part rather than record over one to be pasted on another. It might only be a very subtle difference, but there's not really any extra trouble in doing it that way so I think it's worth it. But maybe that's just the perfectionist in me. 
I won't have access to the studio until next week anyway so I have to wait no matter what.
I won't have access to the studio until next week anyway so I have to wait no matter what.
Aha, duh. Of course, now I see what you mean. Yes, you have to wait for me, and I'm probably not gonna have it done until tomorrow. Maybe tonight, but I still need quite a bit of practice.
I invite all participants to check out my drum video above. Not counting sound issues - it's just a the webcam mic - please criticize the performance. I have a list of things that need work from my own viewing already.
A spoken intro is a ten-fifteen second audio clip that anyone with a microphone can record. I say, let all interested simply post their intro here and Yax can choose the best one. I've also asked LC to do it, I think he'd sound good.
Yax
Ancient Mariner
I'm checking in quickly every now and then, but due to visitors from Finland, I'm occupied at the moment.
Fine, forget the sampling, neither you or I have the energy to argue, nor want that to be the focus. To get some sorts of overhead mics are though something definitely needed, so please meet me halfway here. Overheads are more important than close mikes (and even drum samples from libraries or modern Metal productions where every drum is sampled, is still sampled with overheads. A lot of the sound comes from there and Overheads/rooms are the only way to get a proper stereo image) in my opinion if one have to choose - Who's Next for example is recorded with three mics on the drums. One on the kick. one overhead from (audience) right pointing down at the snare from above and one carefully positioned as a kind of sidefill OH/floor tom mic and then panned in a specific way.
The idea of the samples with the OH approach was to fill out the toms and make sure every tom always had a dedicated close mic positioned on the drum as well and if needed, remove a hit where there is simply too much cymbal bleed. Not to remove bad hits.
How about my suggestion to use your video camera from your first video, page 1, as room mikes?
Fine, forget the sampling, neither you or I have the energy to argue, nor want that to be the focus. To get some sorts of overhead mics are though something definitely needed, so please meet me halfway here. Overheads are more important than close mikes (and even drum samples from libraries or modern Metal productions where every drum is sampled, is still sampled with overheads. A lot of the sound comes from there and Overheads/rooms are the only way to get a proper stereo image) in my opinion if one have to choose - Who's Next for example is recorded with three mics on the drums. One on the kick. one overhead from (audience) right pointing down at the snare from above and one carefully positioned as a kind of sidefill OH/floor tom mic and then panned in a specific way.
The idea of the samples with the OH approach was to fill out the toms and make sure every tom always had a dedicated close mic positioned on the drum as well and if needed, remove a hit where there is simply too much cymbal bleed. Not to remove bad hits.
How about my suggestion to use your video camera from your first video, page 1, as room mikes?
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Forostar
Ancient Mariner
Sorry to go off-topic for a minute, but I like such trivia. Do you have more of such information on other recordings (how drums were recorded)?
Actually, I have never recorded drums properly myself. The only time I did it was by hanging one mic from the ceiling. It had a decent overall sound, everything could be heard well, but of course the elements of the kit were not spread (panned) over the stereo spectrum (I panned the result in the middle, and used left and right for guitars and keyboard).
Yax
Ancient Mariner
There is a fair amount of information floating around, in books, interviews and whatnot. There is a set of books (think it's two of them) which consists of famous engineers discussing their work. There's some cool stuff about Dark Side Of the Moon in there, presented by the engineer Parsons. I can't for the life of the remember the title of the book though. Bruce Swedien (Michael Jackson engineer), released a book a year or so after Jacksons death. It wasn't well received, but that was because it was purchased by people who wanted inside scoops on Jacksons habits and favorite ice cream. Bruce is supposedly talking a lot about recording. Here's a Jackson drum recoding setup. http://dt7v1i9vyp3mf.cloudfront.net...jWC__aguh7rhfsAVG_zOMDvTlXC42Y=&itok=kBR_EPhg
Tom mikes are about 2500 dollars a piece (it's a go-to mic for pro recording, used on a multitude of instruments. Vocals, Drums, guitars and piano are common).
That specific The Who setup is a classic, and its engineer, Glyn Johns (I think his brother and son are well known engineers as well) is infamous for it - He used it on Led Zeppelin records as well. Add a snare mic and you've got an excellent four mic setup.
I did a comparison once (when in uni) between a number of four mic setups and the perceived naturalness (which is also very much derivative from the bias of the listener) of its sound. I think either Glyn Johns won the listening tests, or possibly Recorderman (Kick, snare, and then two overheads where one is positioned above the snare, and the other sort of behind the drummers shoulder, floor tom side, with a perfect triangle relationship between them and the center of the snare).
The listening test itself was executed in a pseudo scientific way and is not very reliable. But it was fun.
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Band name: Rusty Gown. (That's what covers an Iron Maiden.)
Full reference track for Alexander the Great
Mosh's intro click synced to full track, ten seconds of silence at beginning
Right click and save: ATGref.wav (Mono, 22.1 MB )
Mosh's intro click synced to full track, ten seconds of silence at beginning
Right click and save: ATGref.wav (Mono, 22.1 MB )
SixesAlltheway
Ancient Mariner
You know what would be fun and cool...Have one of the girls of the forum do it
Yax
Ancient Mariner
Excellent!Don't worry. As I want good drums myself as well, I bought some new mics yesterday.
I have 8 tracks available on the Korg and one is my reference track. There will be left and right overheads, kick and snare, condenser at audience position, two mics to cover the toms.
And I've been practising all weekendYou know what would be fun and cool...Have one of the girls of the forum do it
You know what would be fun and cool...Have one of the girls of the forum do it
Yeah, that would be Ariana, then.
Dr. Eddies Wingman
Brighter than thousand_suns
Because she's the one living nearest to what used to be the Kingdom of Macedon? It does make sense.
No, because it would sound like an episode of Byker Grove if I did it.
SixesAlltheway
Ancient Mariner
Had to look up Byker Grove. Definitely think it should be Brigs now.
I recorded three takes. There's a solid performance across the three combined...
Take two was the best overall but has a couple flubs. I think it's also the only one with a good ending. Your best bet is probably fixing that one: you could probably fix it in a DAW faster than I'll get one perfect take. (Sorry, I ain't Nicko.
)The 8 WAV files for each take total about 350 MB, so all 3 takes is just north of a gig. You will need the reference track for each drum take - due to technical difficulties, I had to record that live instead of a simple file transfer, so you'll need each takes reference track to sync them all together. I'll start uploading and give you a list of links when I've got it all up.
@Yax, @Mosh, and @ anyone else who wants to try a mix:
You'll need the reference track for each take to sync the takes together.
Two stereo overheads, labelled as over ride or hihat. Each mic was about five feet above the named cymbal, plus about a half meter outside the cymbal, pointed at my knees. One front condenser, about 10 feet in front of the kit and just short of the ceiling, pointed at my head. Kick inside that drum of course (in front, away from head and beater). Snare up tight, catching mostly drum resonance, sounds better from overheads but this can give it body. One tom mic between mid and low mounted toms, the other between the floor toms, not really needed for sound but maybe could enhance the stereo spread.
All are direct links, right click and save.
Take One:
Take Two:
Take Three:
You'll need the reference track for each take to sync the takes together.
Two stereo overheads, labelled as over ride or hihat. Each mic was about five feet above the named cymbal, plus about a half meter outside the cymbal, pointed at my knees. One front condenser, about 10 feet in front of the kit and just short of the ceiling, pointed at my head. Kick inside that drum of course (in front, away from head and beater). Snare up tight, catching mostly drum resonance, sounds better from overheads but this can give it body. One tom mic between mid and low mounted toms, the other between the floor toms, not really needed for sound but maybe could enhance the stereo spread.
All are direct links, right click and save.
Take One:
Take Two:
Take Three: