Before the client arrives or I am because of kick-off on Skype I all devices will I make sure use is ready, this means first relentless drums.
Make sure that the kit on performance is set. I like both heads on same pitch matched and Toms I they optimize for about a third apart, and the key of the song when it is possible, but for me it more important for the project to relentless drums and sing of course.
Snare drum should be somewhat humid as I would for a gig and my kick drum is blunted typically down with a pillow.
Voting is completed, I listen for rattles, buzzes and sympathetic rings, as far as possible to eliminate.
Once satisfied with the kit that I am moving in the microphones, my typical building is I
AKG D112 kick drum inside, and a custom built (by me) for external microphone
Small drum-typically just one well placed Shure SM57
Tom's either a SM57 to each or a Sennheiser MD241
Overhead-a couple of AKG C414
Hats/ride a couple sE4
Room-a Neumann SUPERCARDIOID
Positioning:
This is important, that bit-all microphones should face as well and this is the same angle as far as possible, to minimize problems with the kit phase.
The boost in mic is typically 5 "from the skin, the Centre show slightly away from the club just leave."
Outside kick which mic is positioned cut an inch from the hole in the skin.
Snare, top, top removed inch, inch and display located in the skin
Tom's same as loop
About 6 ft above the kit and the set X / Y or placed the Glyn Johns position.
Hats - 6 "above, show only on the left side of the Bell"
Ride-6 "on the Bell, shows where the Bell meets the body."
Looking for room typically 5 metres and at the top of the drummer!
Glyn Johns method: You place a display exactly 40 "above the snare, showed directly on them and the other just 40" on the right side, next to the floor Tom and show them directly in the same place as the other. Use tip-a 40-bit string to measure!
Next, I throw my DIY acoustic screens to calm rooms, so I get a clean shot.
I have my MICS through various channels, including 3 Focusrite liquid pre, a stereo pair of TLAudio, a neve 1073, a universal audio 710 and a few more run. All are of hard-knee compression all of the peaks on the kick and the snare to catch set at 12dbfs tracked, flat, no EQ, and only a tiny amount.
I am tracking in ProTools and I want my tips come in around 14dbfs leave plenty of headroom. My home base is about a MIDI output to an old drum module of Alesis set up, I had, to forever tap.
If I'm tracking, I tend to load by clicking, kick and snare, cymbals, a small little hats and Toms, go and overall a healthy mix of music.
Keep the volume low! It is not a gig, a comfortable level sounds to me better shots and is easier to mix the S as born and t from the kit. I'm going to go a few times a sense and fine tune the line levels between runs, I record everything you can delete it later always.
When I'm ready, I can get on monitoring, I'm looking for a great feel as technically perfect, I want something else 3-5 together with a "Toolkit" takes fillings down, after I'm done and an example of each drum played on different volumes, a few pulls and I need Flams, spirits to fall again something or fix to do something after the fact.
As far as the process goes, it depends on the client really and the required result. I may properly monitor the sound as possible to make use of as little EQ.
My first post processing is task to open the kit and check the stage again, starting with 1 overhead panned I mention, that second listen if I not sure I you flip it for a loss of bass or clarity and see what I like best a choice make it silent and continue with the kick. I repeat this for all the tireless drums, flip out as required.
I met then the things Beat Detective for any small time.
In General then I all relentless drums and send them to a bus. I like a compressor on the bus, 10-15ms attack, automatic release, 2 or 4-1 ratio and threshold set so that it approximately does 3 maybe 4 DB get discount at the loudest tracks.
I mean then fader to NULL, and call the kick to 0VU about (-14dbfs), as well as the snare and then fade the overheads are by ear, so that they be compensated with the kick and snare.
At this point I head back to the bus compressor and adjust to get my 3-4db gain reduction. I usually then mix in my room, Toms, hats and drive as needed, although I do not always use (especially if a few Glyn Johns work on) but I like to pursue them just in case.
I hope you enjoy this first part I will you write another soon in detail my processing for each drum, etc..
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