New Tacoma Narrows Bridge Disaster album recording starting tomorrow!

What's Hot
2

Comments

  • Spent all of today checking phase and comping takes together. The in-depth editing will start next week. Need to basically get fully comp'd tracks together so our bassist can practice his ass off when I'm away in Japan starting next weekend.

    Might put out a little teaser video before then though.

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • NerineNerine Frets: 1971
    20 odd mics? Jesus. Best of luck keeping that all in phase. If it were me, I’d lose nearly half of them as that could get pretty smeary very easily as none of that is ever going to be perfectly in phase.
    Then again, I would never have a middle overhead, more than one stereo room, (occasionally a crunched up mono to go with the stereo room) and three snare top mics. 
    Also, a 52 and a 602? on the floor toms? 
    I’d be interested to hear what that all sounds like, regardless. 

    I know now it’s literally none of my business, but reading the list of what’s mic’d where, I’d definitely lose some channels/option paralysis and repurpose some of the less important channels’ microphones to do a more suitable job. 

    TLM103 rather than D112 on the kick out for starters, and lose some snare top mics and use them on the toms. 

    IMO that looks like lots of mics just because. 
    Not trying to trash the setup at all, I just think it seems like a strange mic choice on each source, when some mics would be maybe better elsewhere. 

    Plus, literally no one wants to mix 21 channels of drums. 

    Kick In
    Kick Out 
    Sn Top
    Sn Bot
    Hat
    Rack
    Floor 
    Floor 
    OHL
    OHR 
    Room L
    Room R 
    Mono room  


    13. Done. Cleaner. Simpler. 

    Some great overheads and rooms and you could probably go down to 8 mics quite easily. :) 
    0reaction image LOL 0reaction image Wow! 5reaction image Wisdom
  • mudslide73mudslide73 Frets: 3049
     Can't wait to hear this stuff.. are you still instrumental only?
    "A city star won’t shine too far"


    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • meltedbuzzboxmeltedbuzzbox Frets: 10337
    Nerine said:
    20 odd mics? Jesus. Best of luck keeping that all in phase. If it were me, I’d lose nearly half of them as that could get pretty smeary very easily as none of that is ever going to be perfectly in phase.
    Then again, I would never have a middle overhead, more than one stereo room, (occasionally a crunched up mono to go with the stereo room) and three snare top mics. 
    Also, a 52 and a 602? on the floor toms? 
    I’d be interested to hear what that all sounds like, regardless. 

    I know now it’s literally none of my business, but reading the list of what’s mic’d where, I’d definitely lose some channels/option paralysis and repurpose some of the less important channels’ microphones to do a more suitable job. 

    TLM103 rather than D112 on the kick out for starters, and lose some snare top mics and use them on the toms. 

    IMO that looks like lots of mics just because. 
    Not trying to trash the setup at all, I just think it seems like a strange mic choice on each source, when some mics would be maybe better elsewhere. 

    Plus, literally no one wants to mix 21 channels of drums. 

    Kick In
    Kick Out 
    Sn Top
    Sn Bot
    Hat
    Rack
    Floor 
    Floor 
    OHL
    OHR 
    Room L
    Room R 
    Mono room  


    13. Done. Cleaner. Simpler. 

    Some great overheads and rooms and you could probably go down to 8 mics quite easily. :) 
    Just use ez drummer innit :-p
    The Bigsby was the first successful design of what is now called a whammy bar or tremolo arm, although vibrato is the technically correct term for the musical effect it produces. In standard usage, tremolo is a rapid fluctuation of the volume of a note, while vibrato is a fluctuation in pitch. The origin of this nonstandard usage of the term by electric guitarists is attributed to Leo Fender, who also used the term “vibrato” to refer to what is really a tremolo effect.
    1reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • NerineNerine Frets: 1971
    Nerine said:
    20 odd mics? Jesus. Best of luck keeping that all in phase. If it were me, I’d lose nearly half of them as that could get pretty smeary very easily as none of that is ever going to be perfectly in phase.
    Then again, I would never have a middle overhead, more than one stereo room, (occasionally a crunched up mono to go with the stereo room) and three snare top mics. 
    Also, a 52 and a 602? on the floor toms? 
    I’d be interested to hear what that all sounds like, regardless. 

    I know now it’s literally none of my business, but reading the list of what’s mic’d where, I’d definitely lose some channels/option paralysis and repurpose some of the less important channels’ microphones to do a more suitable job. 

    TLM103 rather than D112 on the kick out for starters, and lose some snare top mics and use them on the toms. 

    IMO that looks like lots of mics just because. 
    Not trying to trash the setup at all, I just think it seems like a strange mic choice on each source, when some mics would be maybe better elsewhere. 

    Plus, literally no one wants to mix 21 channels of drums. 

    Kick In
    Kick Out 
    Sn Top
    Sn Bot
    Hat
    Rack
    Floor 
    Floor 
    OHL
    OHR 
    Room L
    Room R 
    Mono room  


    13. Done. Cleaner. Simpler. 

    Some great overheads and rooms and you could probably go down to 8 mics quite easily. :) 
    Just use ez drummer innit :-p
    Superior 3. ;)

    Hehe. 

    Needless to say some of the “drummers” I’ve worked with over the years have required me to “edit” their stuff quite hard. 

    And of course, when I say “edit” I mean “completely re-program using Superior Drummer”. Haha. 

    To be fair I’m working with a band at the moment that have provided me with MIDI for the drums and are happy for them to stay that way/programmed. They took videos of their drummer playing through the songs and then edited the midi data to reflect his performance as closely as possible. 

    I’m then going to fine tune some of the velocities and quantisation to further humanise the odd bit here and there, and Superior Drummer 3 is going to provide me with the multi tracks. Personally, I like working this way. Gives us a lot of flexibility, and we can tweak kick and snare patterns etc right up until the vocals are finished and I’m ready to mix everything. Plus, when done properly it’s pretty much indistinguishable from the “real” drums. They’re just expertly recorded, clean, in phase, tight, consistent etc etc. 

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • WiresDreamDisastersWiresDreamDisasters Frets: 16664
    edited May 2019
    Nerine said:
    20 odd mics? Jesus. Best of luck keeping that all in phase. If it were me, I’d lose nearly half of them as that could get pretty smeary very easily as none of that is ever going to be perfectly in phase.
    Then again, I would never have a middle overhead, more than one stereo room, (occasionally a crunched up mono to go with the stereo room) and three snare top mics. 
    Also, a 52 and a 602? on the floor toms? 
    I’d be interested to hear what that all sounds like, regardless. 

    I know now it’s literally none of my business, but reading the list of what’s mic’d where, I’d definitely lose some channels/option paralysis and repurpose some of the less important channels’ microphones to do a more suitable job. 

    TLM103 rather than D112 on the kick out for starters, and lose some snare top mics and use them on the toms. 

    IMO that looks like lots of mics just because. 
    Not trying to trash the setup at all, I just think it seems like a strange mic choice on each source, when some mics would be maybe better elsewhere. 

    Plus, literally no one wants to mix 21 channels of drums. 

    Kick In
    Kick Out 
    Sn Top
    Sn Bot
    Hat
    Rack
    Floor 
    Floor 
    OHL
    OHR 
    Room L
    Room R 
    Mono room  


    13. Done. Cleaner. Simpler. 

    Some great overheads and rooms and you could probably go down to 8 mics quite easily.  
    Ooo! I love a good "too many drum mics" sparring session!

    Here's a clip of all of the mics:
    https://www.dropbox.com/s/lgaq8fmonnsi6ua/TruthEscapes_QuickExport.wav?dl=0

    Here's a clip of directs, overheads, PZMs, and Sub:
    https://www.dropbox.com/s/thbmlb3xwsvy8lj/TruthEscapes_QuickExport_SmallSelection.wav?dl=0

    Raw mics. No additional EQ or compression, just what was tracked. No de-bleeding of any tom or snare tracks. There is a UAD Distressor on the Mono Kit channel, so the width isn't as pronounced in the 'all mics' clip as it is in the 'small selection' clip.

    These clips are completely unedited aside from comping together three takes - one for the toms at the start, with the cymbal pings on their own set of tracks (separate from the toms for mix purposes), and then there is a new take for the actual beat that comes in.

    Simply put - not going to be using all of the mics at the same time, and even if I do, it wont be all of the time.

    To expand though... I like to capture a variety of tones and then use specific ones in specific sections of songs. Mono rooms for example, I like to use during tom fills and breakdowns, and maybe during a chorus if I need a bit of extra mush to crunch up the kick and snare. It really depends on what the song calls for. I may not even using the same "mix" of microphones for every song. Again, it depends on what the song calls for.

    RE: Phase.

    Phase is really down to the direct microphones on the kit versus the overheads. Most other microphones are so far away from the kit (room mics, pzm's, etc..) that at that point you're not concerned with screwing the impact of the drums, rather you're concerned with getting the right flavour when adding those mics in. Sometimes dragging them ahead in time after the fact can change the tone, which I sometimes do, but I try to get it right at the source as much as I can.

    So you're right, there is no way to get that many microphones completely in phase for every single instrument. But the reality is, you don't need to. As long as there aren't huge problems, you're good to go.

    RE: Overheads.

    Our drummer has a lot of cymbals, and I wanted to be sure that I captured the entire spread. This was something I stole from the Joe Barresi interview with MixOnline, he talks about having a 3rd overhead in the middle and how he automates the level of it for specific fills and cymbals. Again, it depends on what the song calls for.

    RE: Number of mics.

    I might have an intro to the song where everything is chilled out. So I drop the kick in from the mix and only use the kick out. Then it might explode into a more heavy section, so I bring the kick in back into the mix to get the extra snap required for fast double kick bits. That's one example. Likewise with the snare mics - dynamic might sound good for one part, condenser for another.

    RE: TLM103.

    The TLM sounds really good as a kick out microphone, but I prefer it as a mono room mic situated just about waist height a few feet away from the kit. It gets an overall impression of the kit, which I then put through a Distressor to crush the absolute living shit out of it. This channel is my "intensity" channel, which I can ride the fader of and bring it up for bits where I want the drums to punish a bit more. It's not an always on mic for me.

    RE: Literally no-one wants to mix 21 channels of drums.

    Well... erm.. I do. Sorry!

    RE: Going down to 8 mics.

    Sure, you absolutely can do that, and there probably will be sections of songs where only 8 mics will be running live. In fact all the cymbal swell sections and the hihat only sections, I'll probably just come down to OH's only.

    RE: It looks like a load of mics just because.

    Not really. I have something in mind for each one or pair of mics. Whether they will make the final cut is a completely different thing, but I know what I'm doing. Not to be too defensive or anything, coz really I do enjoy these sorts of debates, but I kinda know what I'm doing. I record drums for a living. If you've bought any of the FXpansion BFD packs made in the last 5-6 years, I recorded them (with my production partner).

    I'm always eager to learn new things though. I don't know absolutely everything about tuning, recording, or playing drums. But it is a world I've been immersed in for over a decade now. I'd like to think I know some stuff!

    It's a little amusing to me that you're questioning the number of microphones I've got, and then recommend people use Superior Drummer 3, which probably has more mics available than what I'm using!

    PS: I do use Superior 3.0 myself, coz I love drum software and drums in general. I prefer recording them above any other instrument!

    Bye!

    0reaction image LOL 0reaction image Wow! 2reaction image Wisdom
  •  Can't wait to hear this stuff.. are you still instrumental only?
    Tbh, only the first album was 100% instrumental. Exegesis had a few vocal tracks on it, and Wires/Dream\Wires has one vocal track on it. The new album will have at least one vocal track on it. So we're about.. I dunno, 60% instrumental! :)

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • StuckfastStuckfast Frets: 2393
    Nice dive on the tom there!

    Are you tuning the drums to the key of the song? The kick in particular has quite a definite pitch to it. Could be awkward if it turns out to be a semitone away from the root of the song!
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • Stuckfast said:
    Nice dive on the tom there!

    Are you tuning the drums to the key of the song? The kick in particular has quite a definite pitch to it. Could be awkward if it turns out to be a semitone away from the root of the song!
    Didn't tune to the key of the song to be honest. I don't think it's always necessary, although I've done it before. Drummer tuned and I tweaked. He wanted the toms to have that dive-y quality, it's taken a little time to get used to if I'm honest because that's not how I tune drums typically. Typically I go for quite a solid note with as little pitch drop as possible, but I don't think that would've worked for these songs tbh. Too much tone to deal with. He's after thuddy low-endy toms, which is fine by me!

    I'll probably use our transient designer to take off a bit of that tail, sorta depends what happens under a bit of compression.

    Finally, Waves have a cool plugin called Torque which can work well for sorta changing the fundamental pitch of a drum. So I could whack that on the kick if it becomes a problem, but I don't think it will.

    The big question I am struggling with right now is how much editing and tightening to do. Some sections where he's going double kick mad might benefit from it, but I also kinda like the idea of leaving it as natural as possible.

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • guitarfishbayguitarfishbay Frets: 7953

    The big question I am struggling with right now is how much editing and tightening to do. Some sections where he's going double kick mad might benefit from it, but I also kinda like the idea of leaving it as natural as possible.

    The eternal struggle.

    I’ve decided it’s all about how it feels and to try to not overthink it from a philosophical angle because if done well not many are going to worry about what was done to the audio
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • ToneControlToneControl Frets: 11790
    And listen to it from another room, through an open door, to hear it a different way
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • NerineNerine Frets: 1971
    Ooo! I love a good "too many drum mics" sparring session!

    Here's a clip of all of the mics:
    https://www.dropbox.com/s/lgaq8fmonnsi6ua/TruthEscapes_QuickExport.wav?dl=0

    Here's a clip of directs, overheads, PZMs, and Sub:
    https://www.dropbox.com/s/thbmlb3xwsvy8lj/TruthEscapes_QuickExport_SmallSelection.wav?dl=0

    Raw mics. No additional EQ or compression, just what was tracked. No de-bleeding of any tom or snare tracks. There is a UAD Distressor on the Mono Kit channel, so the width isn't as pronounced in the 'all mics' clip as it is in the 'small selection' clip.

    These clips are completely unedited aside from comping together three takes - one for the toms at the start, with the cymbal pings on their own set of tracks (separate from the toms for mix purposes), and then there is a new take for the actual beat that comes in.

    Simply put - not going to be using all of the mics at the same time, and even if I do, it wont be all of the time.

    To expand though... I like to capture a variety of tones and then use specific ones in specific sections of songs. Mono rooms for example, I like to use during tom fills and breakdowns, and maybe during a chorus if I need a bit of extra mush to crunch up the kick and snare. It really depends on what the song calls for. I may not even using the same "mix" of microphones for every song. Again, it depends on what the song calls for.

    RE: Phase.

    Phase is really down to the direct microphones on the kit versus the overheads. Most other microphones are so far away from the kit (room mics, pzm's, etc..) that at that point you're not concerned with screwing the impact of the drums, rather you're concerned with getting the right flavour when adding those mics in. Sometimes dragging them ahead in time after the fact can change the tone, which I sometimes do, but I try to get it right at the source as much as I can.

    So you're right, there is no way to get that many microphones completely in phase for every single instrument. But the reality is, you don't need to. As long as there aren't huge problems, you're good to go.

    RE: Overheads.

    Our drummer has a lot of cymbals, and I wanted to be sure that I captured the entire spread. This was something I stole from the Joe Barresi interview with MixOnline, he talks about having a 3rd overhead in the middle and how he automates the level of it for specific fills and cymbals. Again, it depends on what the song calls for.

    RE: Number of mics.

    I might have an intro to the song where everything is chilled out. So I drop the kick in from the mix and only use the kick out. Then it might explode into a more heavy section, so I bring the kick in back into the mix to get the extra snap required for fast double kick bits. That's one example. Likewise with the snare mics - dynamic might sound good for one part, condenser for another.

    RE: TLM103.

    The TLM sounds really good as a kick out microphone, but I prefer it as a mono room mic situated just about waist height a few feet away from the kit. It gets an overall impression of the kit, which I then put through a Distressor to crush the absolute living shit out of it. This channel is my "intensity" channel, which I can ride the fader of and bring it up for bits where I want the drums to punish a bit more. It's not an always on mic for me.

    RE: Literally no-one wants to mix 21 channels of drums.

    Well... erm.. I do. Sorry!

    RE: Going down to 8 mics.

    Sure, you absolutely can do that, and there probably will be sections of songs where only 8 mics will be running live. In fact all the cymbal swell sections and the hihat only sections, I'll probably just come down to OH's only.

    RE: It looks like a load of mics just because.

    Not really. I have something in mind for each one or pair of mics. Whether they will make the final cut is a completely different thing, but I know what I'm doing. Not to be too defensive or anything, coz really I do enjoy these sorts of debates, but I kinda know what I'm doing. I record drums for a living. If you've bought any of the FXpansion BFD packs made in the last 5-6 years, I recorded them (with my production partner).

    I'm always eager to learn new things though. I don't know absolutely everything about tuning, recording, or playing drums. But it is a world I've been immersed in for over a decade now. I'd like to think I know some stuff!

    It's a little amusing to me that you're questioning the number of microphones I've got, and then recommend people use Superior Drummer 3, which probably has more mics available than what I'm using!

    PS: I do use Superior 3.0 myself, coz I love drum software and drums in general. I prefer recording them above any other instrument!

    Thanks for posting up clips. I’ll check it out later on me studio monitors. 

    And yeah, I wasn’t intending to trash any of the workflow or anything like that, I’ve just found that whenever I go a bit mad with loads of mics on a kit, no matter how many times I measure distances etc, I’ll never be 100% happy with the phase. And yeah. Totally agreed. The phase relationship between rooms and close mics is less important, but I have found it can mess with your low end if you’re not careful. 

    I’m not a drum specialist, but I am an engineer/producer/mixer and have been for the last 10-12 years or so. So I guess it’s just down to taste really. I like mixing quite quickly. The more channels I have to work with, the more choices i have to make, which can just halt my workflow. I like options, of course, but not to the extent of it hampering the journey to the final mix.

    Re: SD3. I never use all of the channels. But occasionally I'll have certain drums sent to certain ambient channels so I've got a dedicated printed room reverb for that specific drum. And, I'll always use a real kit in a real room when I can. 
    But of the 700 or so tracks I've worked on, I've come across my fair share of less than amazing drummers. At that point I ask myself the question: "What's gonna be the least painful? Edit this or re-program?" haha. 
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • PolarityManPolarityMan Frets: 7273

    The big question I am struggling with right now is how much editing and tightening to do. Some sections where he's going double kick mad might benefit from it, but I also kinda like the idea of leaving it as natural as possible.

    The eternal struggle.

    I’ve decided it’s all about how it feels and to try to not overthink it from a philosophical angle because if done well not many are going to worry about what was done to the audio
    The trouble I find is that its a bit all or nothing, in that once you start tweaking the worst offenders it makes something else sound out by comparison and then before you know it you've moved thousands of individual hits, and then even worse you hand them to Drew and he redoes it because he doesn't like that you cut off some cymbal trails.


    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • Nerine said:
    Ooo! I love a good "too many drum mics" sparring session!

    Here's a clip of all of the mics:
    https://www.dropbox.com/s/lgaq8fmonnsi6ua/TruthEscapes_QuickExport.wav?dl=0

    Here's a clip of directs, overheads, PZMs, and Sub:
    https://www.dropbox.com/s/thbmlb3xwsvy8lj/TruthEscapes_QuickExport_SmallSelection.wav?dl=0

    Thanks for posting up clips. I’ll check it out later on me studio monitors. 

    And yeah, I wasn’t intending to trash any of the workflow or anything like that, I’ve just found that whenever I go a bit mad with loads of mics on a kit, no matter how many times I measure distances etc, I’ll never be 100% happy with the phase. And yeah. Totally agreed. The phase relationship between rooms and close mics is less important, but I have found it can mess with your low end if you’re not careful. 

    I’m not a drum specialist, but I am an engineer/producer/mixer and have been for the last 10-12 years or so. So I guess it’s just down to taste really. I like mixing quite quickly. The more channels I have to work with, the more choices i have to make, which can just halt my workflow. I like options, of course, but not to the extent of it hampering the journey to the final mix.

    Re: SD3. I never use all of the channels. But occasionally I'll have certain drums sent to certain ambient channels so I've got a dedicated printed room reverb for that specific drum. And, I'll always use a real kit in a real room when I can. 
    But of the 700 or so tracks I've worked on, I've come across my fair share of less than amazing drummers. At that point I ask myself the question: "What's gonna be the least painful? Edit this or re-program?" haha. 
    No slights taken, I legit do enjoy these sorts of discussions and agree with everything you easier. It's all down to taste once you hit a certain level of proficiency. I tend to like mixing quickly too but with this one I want to be a bit deeper, not just running a template across all the tracks and then automating like our previous albums.

    I did a forumers band last year, just mixing, and ended up using sampled drums quite heavily. I went with sd3 coz I love their tracker view where you can load in your drum tracks and get a load of layering going. Big fan of toontrack despite being a competitor!

    TalkBack mic turned out to be a great snare mic. We took samples too so I can layer up some one shots if need be.

    I might try out some of the Andy Wallace ideas. I noticed when checking out the Rick Beato video on his stuff that he quite severely gates the snare. Much more than I ever do, I'm always obsessed with keeping as much snare tail as I can but this leads to more bleed sneaking through.


    The big question I am struggling with right now is how much editing and tightening to do. Some sections where he's going double kick mad might benefit from it, but I also kinda like the idea of leaving it as natural as possible.

    The eternal struggle.

    I’ve decided it’s all about how it feels and to try to not overthink it from a philosophical angle because if done well not many are going to worry about what was done to the audio
    The trouble I find is that its a bit all or nothing, in that once you start tweaking the worst offenders it makes something else sound out by comparison and then before you know it you've moved thousands of individual hits, and then even worse you hand them to Drew and he redoes it because he doesn't like that you cut off some cymbal trails.


    Hahaha, yeah well... I needed to do it lmao.

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • PolarityManPolarityMan Frets: 7273
    Nerine said:
    Ooo! I love a good "too many drum mics" sparring session!

    Here's a clip of all of the mics:
    https://www.dropbox.com/s/lgaq8fmonnsi6ua/TruthEscapes_QuickExport.wav?dl=0

    Here's a clip of directs, overheads, PZMs, and Sub:
    https://www.dropbox.com/s/thbmlb3xwsvy8lj/TruthEscapes_QuickExport_SmallSelection.wav?dl=0

    Thanks for posting up clips. I’ll check it out later on me studio monitors. 

    And yeah, I wasn’t intending to trash any of the workflow or anything like that, I’ve just found that whenever I go a bit mad with loads of mics on a kit, no matter how many times I measure distances etc, I’ll never be 100% happy with the phase. And yeah. Totally agreed. The phase relationship between rooms and close mics is less important, but I have found it can mess with your low end if you’re not careful. 

    I’m not a drum specialist, but I am an engineer/producer/mixer and have been for the last 10-12 years or so. So I guess it’s just down to taste really. I like mixing quite quickly. The more channels I have to work with, the more choices i have to make, which can just halt my workflow. I like options, of course, but not to the extent of it hampering the journey to the final mix.

    Re: SD3. I never use all of the channels. But occasionally I'll have certain drums sent to certain ambient channels so I've got a dedicated printed room reverb for that specific drum. And, I'll always use a real kit in a real room when I can. 
    But of the 700 or so tracks I've worked on, I've come across my fair share of less than amazing drummers. At that point I ask myself the question: "What's gonna be the least painful? Edit this or re-program?" haha. 
    No slights taken, I legit do enjoy these sorts of discussions and agree with everything you easier. It's all down to taste once you hit a certain level of proficiency. I tend to like mixing quickly too but with this one I want to be a bit deeper, not just running a template across all the tracks and then automating like our previous albums.

    I did a forumers band last year, just mixing, and ended up using sampled drums quite heavily. I went with sd3 coz I love their tracker view where you can load in your drum tracks and get a load of layering going. Big fan of toontrack despite being a competitor!

    TalkBack mic turned out to be a great snare mic. We took samples too so I can layer up some one shots if need be.

    I might try out some of the Andy Wallace ideas. I noticed when checking out the Rick Beato video on his stuff that he quite severely gates the snare. Much more than I ever do, I'm always obsessed with keeping as much snare tail as I can but this leads to more bleed sneaking through.


    The big question I am struggling with right now is how much editing and tightening to do. Some sections where he's going double kick mad might benefit from it, but I also kinda like the idea of leaving it as natural as possible.

    The eternal struggle.

    I’ve decided it’s all about how it feels and to try to not overthink it from a philosophical angle because if done well not many are going to worry about what was done to the audio
    The trouble I find is that its a bit all or nothing, in that once you start tweaking the worst offenders it makes something else sound out by comparison and then before you know it you've moved thousands of individual hits, and then even worse you hand them to Drew and he redoes it because he doesn't like that you cut off some cymbal trails.


    Hahaha, yeah well... I needed to do it lmao.
    The lesson I learned is that Im outsourcing the drum editing straight away next time :)

    Drum editing sucks donkey balls.
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom

  • Drum editing sucks donkey balls.
    I don't mind it to be honest. I just always struggle with knowing how far to really go with it. Not a problem I need to deal with right now since the band haven't yet chosen the takes!!

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • PolarityManPolarityMan Frets: 7273

    Drum editing sucks donkey balls.
    I don't mind it to be honest. I just always struggle with knowing how far to really go with it. Not a problem I need to deal with right now since the band haven't yet chosen the takes!!
    You don't mind sucking donkey balls?  O_o
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
    1reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • duotoneduotone Frets: 972
    How's it all going @WiresDreamDisasters ;
    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • duotone said:
    How's it all going @WiresDreamDisasters ;
    Zero progress on this for a month tbh. Everyone has just been too busy or has had technical difficulties and couldn't get me the feedback I needed. We're aiming for a 2019 release, but I don't think it's going to happen personally. Maybe first quarter of 2020.

    Bye!

    0reaction image LOL 0reaction image Wow! 0reaction image Wisdom
  • PolarityManPolarityMan Frets: 7273
    In that case I'd just delay it..there's new tool in aug so the markets gonna be saturated til about 2024
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
    1reaction image LOL 0reaction image Wow! 0reaction image Wisdom
Sign In or Register to comment.