Malcolm Boyce wrote:
An important thing for me has always been, when doing a stereo pair overhead, adjust position for "image" separation, do not twist the pan pot.
macrae11 wrote: Maybe we could even post some examples with artists permission.
macrae11 wrote:Malcolm Boyce wrote:
An important thing for me has always been, when doing a stereo pair overhead, adjust position for "image" separation, do not twist the pan pot.
+7.5
It doesn't like the apostrophes in the URL.macrae11 wrote:My links don't seem to be embedding. Anyone see what I did stupid?
Malcolm Boyce wrote:It doesn't like the apostrophes in the URL.macrae11 wrote:My links don't seem to be embedding. Anyone see what I did stupid?
macrae11 wrote:So here's another couple of examples to go along with Matt's first one.
These are the same drums, in the same room, with the same drummer. Different mics and pres, and the room has been gobo'd somewhat in order to tame things a bit. These are both done with 414B-ULS, in basically the format discussed above. One issue with this setup is in order to make the snare sound in the center the image shifts a little bit to the left for the rest of the kit.(audience perspective with a right handed drummer) While I like the floor toms over on the side, the high rack tom is centered, or even a little to the left of the image, which is accurate, but not necessarily how I want it. So I'll pan the close mic on the rack tom a bit to the right to pull it over.
macrae11 wrote:Also Matt I can't remember, but I think we might have had a little high shelf on the L251 when tracking your sample. It is a bright mic, but I don't know if it's that much brighter.
Drumwaiter wrote:
Is it because of how I have my kit set up? Because I'm about to change that rather drastically. In many cases I'm sure that you'd run into this problem as very few people have a snare centered in there kit. Never considered it though before you mentioned it.
Drumwaiter wrote:I don't remember high shelfing it. I'm not even sure what we would have used as a high shelf if we did (maybe the Avalon?) The 251 does have a bass boost switch though, I'd have been curious to see what it would've sounded with it on.
Malcolm Boyce wrote:As for the stereo imaging of the drums, I find the obsessing on what is "correct" to be hilarious. How many arguments about "audience" or "player" perspective can one take? Also, I don't fret about the snare or toms necessarily being "centered" in the OHs as long as it sounds good and balanced when listening to the whole kit. To me that is most important, and with most pop/rock-ish drum sets, the drums themselves aren't going to be even remotely symmetrical. I forget who said, "In real life, drums are mono for everyone but the player!"
Malcolm Boyce wrote:So now I'll pony up a sampledone with a pair of KSM137s with I think the steep HPF on.
Malcolm Boyce wrote:I really like the mono sample Matt posted.
The 414s sound messed up to me. Was that a set up for tracking something or was it just you guys trying stuff out?
For me, not necessarily the case to be "centered"... and it can still be the "focus" and not perfectly in the middle.Drumwaiter wrote:Yeah, but the snare works well to be centered. IT's the main focus of the kit in most cases...
Yes.Drumwaiter wrote:Malcolm Boyce wrote:So now I'll pony up a sampledone with a pair of KSM137s with I think the steep HPF on.
How were the mics placed for this one? Spaced pair?
Sorry for the vagueness. I guess what I could say is, not what I expect any 414s to sound like. There may be more going on there signal path or processing wise that I'm not giving credit to.Drumwaiter wrote:When you say "messed up" how do you mean exactly? I'm not sure I follow...Malcolm Boyce wrote:The 414s sound messed up to me.
Drumwaiter wrote:When you say "messed up" how do you mean exactly? I'm not sure I follow...Malcolm Boyce wrote:The 414s sound messed up to me.
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