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  • #31






    Quote Originally Posted by GorillaFeet
    View Post

    hmmm, well, if it's not to much trouble, are there any good resources for EQing online? google search turns up a lot of different options and I'm not really sure what ones are offering good advice and what ones are little more than inflated opinions. eeeek, This is my biggest recording project so far, usually my setups are fairly basic.




    If you're only using one or two microphones, then you should probably take more of a tonal balancing approach to EQ as opposed to a correctional one. High and low shelving filters can be helpful for "tilting" the tonal balance if the drum tracks are too bright or too dark overall. You can use a high pass filter below the kick drum's fundamental frequency (try 30-40Hz) to rid yourself of some rumble. Parametric EQ gives you some ability to focus in on individual elements of the kit, but it's somewhat limited. For example, trying to narrow in on the "crack" of the snare drum will usually also affect the tone of the toms and hi hats too, but sometimes you can use a parametric to good effect - maybe to add / cut some narrow band EQ somewhere in the 60-100Hz range if you need to bring out more bottom in the kick drum, etc. but in general, any tonal changes you make will affect other parts of the kit too, so be aware of that and go easy with it.
    **********

    "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."

    - George Carlin

    "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."

    - Sir George Martin, All You Need Is Ears

    "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."

    - Bob Lefsetz, The Lefsetz Letter

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    • #32






      Quote Originally Posted by Lee Flier
      View Post

      Yeah, this works well, but actually my favorite placement for 2 mics is one (I agree about the Rode) right at about the drummer's chest or head height, nearly centered over the snare, and put the stand behind him. That way you're picking up what the drummer hears, so it should be well balanced because he's balancing himself. A mic in this position tends to pick up the toms just fine, too, so then you can place your second mic inside or in front of the kick and you're good.




      I sometimes do something similar with my "overheads" (and occasionally as room mics), but instead of a single mic, I use a Blumlein pair placed just behind and right above the drummer's head, facing forward and slightly down towards the center of the kit - usually aimed somewhere between the two rack toms. It can give you a great "as the drummer hears it" perspective on the kit.
      **********

      "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."

      - George Carlin

      "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."

      - Sir George Martin, All You Need Is Ears

      "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."

      - Bob Lefsetz, The Lefsetz Letter

      Comment


      • #33






        Quote Originally Posted by Lee Flier
        View Post

        Yeah, this works well, but actually my favorite placement for 2 mics is one (I agree about the Rode) right at about the drummer's chest or head height, nearly centered over the snare, and put the stand behind him. That way you're picking up what the drummer hears, so it should be well balanced because he's balancing himself. A mic in this position tends to pick up the toms just fine, too, so then you can place your second mic inside or in front of the kick and you're good.




        I sometimes do something similar with my "overheads" (and occasionally as room mics), but instead of a single mic, I use a Blumlein pair placed just behind and right above the drummer's head, facing forward and slightly down towards the center of the kit - usually aimed somewhere between the two rack toms. It can give you a great "as the drummer hears it" perspective on the kit.
        **********

        "Look at it this way: think of how stupid the average person is, and then realize half of 'em are stupider than that."

        - George Carlin

        "It shouldn't be expected that people are necessarily doing what they appear to be doing on records."

        - Sir George Martin, All You Need Is Ears

        "The music business will be revitalized by musicians, not the labels or Live Nation. When the musicians decide to put music first, instead of money, the public will flock to the fruits and the scene will be healthy again."

        - Bob Lefsetz, The Lefsetz Letter

        Comment


        • #34
          Yeah, that's exactly what I often do for "overheads" Phil!
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          • #35
            Yeah, that's exactly what I often do for "overheads" Phil!
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            • GorillaFeetAreBig
              GorillaFeetAreBig commented
              Editing a comment

              Can't log in to my account so I made a new one..  I finally finished the EP! have had some connection issues so I didn't get to see the tips for EQing until today, but I think I managed to goof my way through it well enough. 

              The songs are all on this soundcloud account until I make it public on my bandcamp. 

               

              https://soundcloud.com/bleepblooop  

               

              Thank you all for the help and the suggestions, it wouldn't sound anywhere near where it is without you

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