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Old 09-10-2017, 03:36 PM
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DonaldM DonaldM is offline
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Default Re: Workflow for drums

Quote:
Originally Posted by albee1952 View Post
Since nobody else has jumped in, I will share some stuff I have been experimenting with in the last couple of weeks. This is stuff I am doing AFTER recording, but BEFORE mixing
1-since I track a mic and a "subkick" on the bass drum, I set the Edit window to show the Sub-Counter and set it to samples. Using Tab-to-Transient, I measure how many samples of offset between the bass drum mic and subkick, then nudge the mic later to match the subkick(this makes sense with any inner+outer mic technique)
2-repeat this same routine on my 3 snare mics(top 57, top 81 and bottom) and nudge to match the latest of the 3(usually the bottom). If you are wondering why this could ever change, the drummer might nudge or move the mics for tuning or raising the snare up/down, and I am splitting hairs(because we have the tools to do it)
3-Repeat for the overheads so that snare hits(in the overheads) are exactly the same(even using a tape measure to position overhead mics, they can still be off by several samples).
Some will nudge everything back to match the overheads. I am not quite sold on that(yet) Doing steps 1>3 tends to tighten up the bass drum and snare(nudging the snare back to the overhead can/should tighten the snare even more). I also run a small mic shield(http://www.guitarcenter.com/Sterling...hone-Shield.gc) to block the hat mic so it gets less snare and the crash that sits closest. This seems to help a lot, and I may put another shield to block the hat bleeding into the snare mics(I know purists are saying that bleed is normal and part of the final sound, but I'm a control freak)
Dave - I'm curious as to why you want to nudge all the tracks to perfect alignment. I always thought that the reason you blend in the overheads and room mics was to get that little bit of ambience the slight delay provides. Doesn't syncing them all up defeat that?
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