It did it!
Not me

Moderators: ChrisW, rick, Mark Bassett
ChrisW wrote:Just listened.
It's all subjective of course.
I preferred your first audio and the last (1 & 8).
I would probably go with your first, but just apply a little damping to back off the ringing resonance. As a drummer, that's way more effective than gating, as gating tends to unintelligently cut out part of my performance (any quiet notes).
Your eq'ing seems to duck the high end?
I'm not a seasoned recording engineer, but I guess I've worked with some. For me the less intervention the better.
Get the drum sounding right, choose the right mic and place it in the right position.
I can certainly understand heavy use of eq and compression in the final mixing stage, as the drums are polished to fit the rest of the music, and to sound as hi-fi and punchy as possible. But I'm personally against gating and compressing at the initial capture stage of the drum sound.
I have some raw black beauty recorded 'my' way. Not sure how i would upload or host it.
ChrisW wrote:Why the gating?
(I'll send you some audio too btw)
The Tasmanian wrote:That's a good point about the ring.
The producer needs to pre determine the amount of compression artifacts that will arise down the track in a mix sit.
If there is little compression on drums then there is less to worry about.
But if there is a lot, then the ring will rise up.
Part of the reason that tea towels work and can sound so good is reducing the ring, and then using compression to bring it back up.
so much forward careful thought (and experience) is needed.
I'm with CW - I don't compress drum mics in tracking (I used to )
sometimes I'll compress a kick drum - and usually a distant room mic.
Almost never a snare.
Compression at the recording stage just kills the dynamics, alters the ring to strike ratio - and leaves one with no-where to move once the damage is done.
(sound replacer has become the backstop/excuse for the inexperienced engineer)
Just like a great bass player - the better the player, the less need for compression.
And a great drummer - PLAYS with less ring, they know in their sleep how to consistently hit the sweet spots on a snare.
IMO drums are the most complex and rewarding part of recording.
The rest is easy.
The Tasmanian wrote:And a great drummer - PLAYS with less ring, they know in their sleep how to consistently hit the sweet spots on a snare.
Drumstruck wrote:
A great drummer might, but MANY great drummers play with lots of ring.
The Tasmanian wrote:IMO drums are the most complex and rewarding part of recording.
The Tasmanian wrote:Compression at the recording stage just kills the dynamics, alters the ring to strike ratio - and leaves one with no-where to move once the damage is done.
ChrisW wrote:Drumstruck wrote:
A great drummer might, but MANY great drummers play with lots of ring.
Not as much as is perceived.
I've been years on drum forums. The collective mantra is wide open drums. I'm routinely chastised for putting a small pillow in my bass drum, and a little tape on my snare.
99% of drum forum members are amateurs.
......A hole in the bass drum's front head (another crime according to the online drummer community).
ChrisW wrote:.....In today's arrangements, big resonant drums often compete badly with bass and the low end of keyboards, creating a sonic mess.
My opinion anyway.
rick wrote:I dont have an open mind about shure 57s .. its close shut like a rabbit trap
not so sure I have an open mind about anything really
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