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Post by Deleted on Sept 2, 2014 17:16:46 GMT -7
This one starts with a question.
How are you guys doing drums?
Real drums? Triggers? Software Drum machines?
Let me know and I'll see if I can help.
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Post by jesslm02 on Sept 3, 2014 10:31:49 GMT -7
I have Superior Drummer 2.0. I need to work with it a lot more. I'm also using Presonus StudioOne Pro for my DAW. I need to do some research on how to setup the interface with SD 2.0.
So I guess to answer your question - real drum loops.
Sent from my Galaxy S4 using Proboards
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Post by apwwest59 on Sept 3, 2014 12:06:20 GMT -7
I typically replace or "reinforce" my drum tracks. I take the recorded tracks for the kick, snare and toms, run them through some compression/gating, print that audio file and use it as a trigger track using Logic's built in drum replacement. Usually I will use EZDrummer to layer on drum sounds and mix between the real and midi drums until they sound natural.
So, a combination of real and software drums.
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Post by Baconator on Sept 3, 2014 13:52:08 GMT -7
Drums are one of the main reasons/excuses for not doing more home recording. I've got a slightly outdated version of Logic (8) and have messed around with some software drumming options and never found anything that was as easy as I thought it should be - perhaps I'm the problem. In any case, I'd be interested in hearing some suggestions for an easy way to get BASIC drum tracks down. I appreciate that getting things just right takes infinitely longer than getting something that'll do, but I'm a spaz at programming drums and finding a loop that will do the job can take a long and often fruitless search. Yes, I want it all and I want it now .
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Post by GuitarZ on Sept 3, 2014 17:58:19 GMT -7
I used various drum loops on an early CD. It's always cool to say "That's Mic Fleetwood playing drums. No. Really!" But, given that my style is Rockin' Blues, a real drummer provides an actual feel. We were able to track the analog sound of a Roland Electronic kit and then convert the snare/kick to midi, leverage Andy John's sounds, and use the Roland for cymbals and toms. (For some reason, we couldn't capture the Midi correctly.) This time around, my drummer's Roland kit sounds are sounding pretty good and I'm just focusing on EQ'ing them to generate their own space. With that said, if you checked out my other link in the lounge, It's Cool to have Friends with Gear, I'm lucky to have a drummer that can play well, has good gear to record, and really likes to record. I had another drummer that played well and had a great sound, but he had zero interest in recording versus playing out. Drums are tough in one way or another. That's probably the point.
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Post by Baconator on Sept 3, 2014 18:18:47 GMT -7
I used various drum loops on an early CD. It's always cool to say "That's Mic Fleetwood playing drums. No. Really!" But, given that my style is Rockin' Blues, a real drummer provides an actual feel. We were able to track the analog sound of a Roland Electronic kit and then convert the snare/kick to midi, leverage Andy John's sounds, and use the Roland for cymbals and toms. (For some reason, we couldn't capture the Midi correctly.) This time around, my drummer's Roland kit sounds are sounding pretty good and I'm just focusing on EQ'ing them to generate their own space. With that said, if you checked out my other link in the lounge, It's Cool to have Friends with Gear, I'm lucky to have a drummer that can play well, has good gear to record, and really likes to record. I had another drummer that played well and had a great sound, but he had zero interest in recording versus playing out. Drums are tough in one way or another. That's probably the point. That's really cool. Thanks a bunch for the info! damn, now I really have no excuse for not doing more recording and it just so happens that in another thread I was talking about how I really should put up a video. This may indeed be the time to put up since I think it's too late to shut up. Thanks again - I will look into your link.
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Post by simpleton on Sept 4, 2014 0:27:12 GMT -7
I've never wanted to record anything except live drums. Lucky I have a drummer buddy whom I've played with for going on 10 years. I've used various programed stuff for home CD's made, but I always looked at them like more of an early BECK (not Jeff) approach....kinda more of a indie vibe but not a real drum vibe. I'm a guitar player NOT a drummer and I couldn't think like one if I had to.
My prior live drum recordings usually involve close mic for snare top and bottom, each tom and kick, two overheads and maybe a room mic or two to get the overall vibe of them for mixing. Tracks played live with bass straight to board and guitars went thru line 6 PODs so we could track live and then replay the guitar and bass parts later.
I've no real experience running pro tools but will start doing some recording stuff soon and am hoping to learn more. I'm Gonna use ADAT....
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Deleted
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Post by Deleted on Sept 4, 2014 18:04:51 GMT -7
Here's something that works with real drums and e-drum stuff.
It's important to think of it as a Drum Set and not so much the individual pieces. Lots of mics can be lots of trouble. Same thing on acoustic drums as with the e-drums.
Most of the stuff from the classic era of rock and roll was mic'ed minimally. When you start pulling the mics away from the drums they really start sounding much more natural. Of course this kind of approach doesn't work with nu-metal or other musics with many hyphens.
If you look up The Glynn Johns Method you'll see a lot of videos and instructional posts on how to do it. Basically you have 3 microphones. One out in front of the kick (Front) One over the snare (top) One on the floor tom side 'looking' at the snare from over the top of the drum and under the cymbal. (called the Side) You need a tape measure and what you do is make sure that all 3 microphones are exactly the same distance from the center of the snare drum.
You can vary the distance to go tighter or roomier. The real trick is in the mixing. The top microphone gets panned all the way to one side and the Side mic all the way to the other side. Those 2 (top and side) need to be compressed together on mix. The snare is always the loudest thing so the theory is that the snare gets to all the mics at the same time so it's all "In Phase"
Now in the modern world you don't have to go nuts w just the 3. You can put a close mic on the snare and the toms and the kick but you will be blown away by the 3. The close mics are helpers but the 3 are the main deal.
What does this all mean if you are using sampled drums? Try to back off the close mics and get the sound from the overheads and the room and then compress the group. Remember, it's one instrument really, it's the drum set!
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