Recording Drums In A Bad Sounding Room
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- čas přidán 8. 08. 2020
- Today we're making the best out of a less than ideal situation. I've talked about how important rooms are to a drum sound, but what can we do if we're stuck with poor acoustics?
I was quite pleased with the results, and I hope some of these ideas are helpful to you.
Let me know what you think, and thanks for watching!
Gear used:
Audix D6 (kick in & floor tom): amzn.to/3im6plG
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Shure SM57 (snare): amzn.to/33Ib39J
AKG D112 (rack tom): amzn.to/30EPrJm
Oktava 012 (overheads): amzn.to/30IeE5q
Sennheiser MD12 (wurst)
Coles 4038 (room)
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Something I forgot to add was how it sounded subjectively in the room. It was rather harsh and "slappy" sounding if that makes any sense. You definitely don't get that impression in the recording but while I was tracking I was not optimistic. When it came time to mix I was more than pleasantly surprised.
The real recording is the friends we made along the way
😂
You always post videos that I’ve been needing at the most convenient times
Ha! Happy to be of service. Hope it helps!
I've been recording in a bad room for a while now and this is great!
I'm just getting into recording drums and your channel has been super helpful, I really liked the focus on mixing here. Keep up the good work!
nice video and informative! Great work with that sound man those drums are hard, especially considering the space you were working in. Thanks
been looking for this video for the longest time
Glad I could help!
That sounded great. I like the Camco kit.
some of the most beautiful drum faces I've ever seen
Great video. Youre such a fantastic communicator
Thanks so much!
Drums sound great!
I've been trying to figure out how to get a decent drum recording at home and this encouraged me to stop just using a wurst and try mono OH + distant BD positions. With the wurst style positions, I've found if the mic capsule can 'see' the beater head of the BD, then I get the low-end it seemed you were looking for (in my room of course, this may not apply to all).
Impressive...
Hey, cool video. Have you tried the technique where you try ab spaced pair, but HPF below 500-700hz and just use the OHs for cymbals mostly, use close mics for the shells and then basically the same principle of a pair of condensers on the other side of a door? Hardcore music studios has a good vid on it and it's pretty great for getting the "bad room" out of overheads. This works great with SDCs btw as that high end detail works for you in that regard as long as you pint a bit inward and certainly straight down just toward the rims of the cymbals. Ah, and you get the stereo width back as well. Try it out. Cheers
Totally! Very common for a "bottom up" mixing approach. I'd love to do a video sometime about the two methods.
Great video and well done. My only adjustment would be with the OHs. In that XY pattern they are essentially pointed out at the walls of the room.
Appreciate the comment! I would push back though a bit, I think when you have them low enough you're really getting more of the scope of the kit than the walls. The alternative would be a spaced pair firing downwards which, especially in this room, would get way more room sound than drums. Probably the actual best option in this scenario would just be to go for a mono overhead firing down.
@@ColeParamorethe pair is really just to add dimension to the kit right? Otherwise why not just put more focused mics on the cymbals like you did the hat? Have you ever tried an SM7 on the ride too?
@@RobinApplewood It depends on how you want to use your OHs - some people use them just as cymbal mics and if that's the case, for sure no reason not to just close mic the cymbals you're trying to capture. I tend to use OHs more as a overview of the kit sound and help put all the close mics in context, if that makes any sense. The dimension you get from using a pair, yes, is a definite benefit but a mono OH will still give me the overall picture I'm looking for.
@@ColeParamore Agree with all your points, Im only responding to your goal to minimize the sound of "the room"
@@RobinApplewood I think most important thing to that end is just getting them as low and as close to the source as possible. 👍🏻
In either approach (ie. starting with room/OH and then adding in close mics, or the opposite like you did here), do you have a general approach with how much you try to control bleed for each drum? Do you use gates on some or all of the close mics?
It kind of depends on the song or if I'm just recording for a video. If it's a video with drums only I'm less likely to gate because I want things to sound more natural. If it's with a more modern sounding song I'm not as worried about that and will be more likely to gate more aggressively. In general though I almost always hard gate the toms, at least lightly gate the kick, and snare is kind of a toss up.
What would you do, when snare buzz is too loud in the Overheads? And on tom mics maybe, gating is an Option, but i dont like that very much..
I've never been bothered by sympathetic snare buzz. I would never gate my overheads, but frequently do with tom close mics. That sounds less like a room problem and more like a drum setup problem. How bad is the buzz?
Would you recommend acoustic barrier in that kind of room ?
For the purpose of making it sound better, or soundproofing it?
Did you end up doing anything to the windows/walls in that room as far as acoustic treatment?
Nope, not for this example at least. I'd definitely recommend it in general, but I know it's not always possible given the situation.
Do you have a mixing/ mastering business? Like is there a contact to get ahold of you for mixing? Or even tracking drums
Yes on both counts! Just shoot me an email at my first name + my last name at gmail, or send me a DM on instagram, @coleparamoredrums.
What kinda drums are those, they look like a vintage version of DW’s
60s Camcos, good eye!
0:41 ok, I though my video stucked