Members paisteguy Posted December 15, 2006 Members Share Posted December 15, 2006 anyone have have a suggestion on getting louder tom sound live aside from turning them up alot louder through mains. would it help if all toms would be tuned to higher pitch or maybe a head change is in order as in going from double ply to single ply heads? Link to comment Share on other sites More sharing options...
Members SudzDrummer Posted December 15, 2006 Members Share Posted December 15, 2006 if you want attack, get a pinstripe or ec2... that'll stand out mroe in the mix of a loud band than an ambassador or g2. Otherwise, turn up your toms in the mix! Link to comment Share on other sites More sharing options...
Members coyote-1 Posted December 15, 2006 Members Share Posted December 15, 2006 Someone pointed out in another thread that if a drum has ONLY attack and then deadness, it won't cut through as much as if it has a bit of sustain. To that extent, if you need to cut through you do these things:a) tune higherb) remove all mufflingc) change to single-ply heads all those changes promote a PING vs a THUD. However, drum overtones tend to bother sound guys. So odds are, you'll likely just be turning up the toms in the mix.... but that has its own problem because a group of mics has only so much volume it can attain before feedback, and each mic affects the headroom available to all the others. Link to comment Share on other sites More sharing options...
Members Old Steve Posted December 15, 2006 Members Share Posted December 15, 2006 Originally posted by coyote-1 Someone pointed out in another thread that if a drum has ONLY attack and then deadness, it won't cut through as much as if it has a bit of sustain.To that extent, if you need to cut through you do these things:a) tune higherb) remove all mufflingc) change to single-ply headsall those changes promote a PING vs a THUD.However, drum overtones tend to bother sound guys. So odds are, you'll likely just be turning up the toms in the mix.... but that has its own problem because a group of mics has only so much volume it can attain before feedback, and each mic affects the headroom available to all the others. Coyote beat me to it. Exactly correct. If you're unmiced, you need higher pitch, and more resonance. If you're miced, it's a different story. A good soundguy can still work with drums like this...it's just a matter of using the gain to capture only what's needed. If, however, your drums are "thuddy" and the soundguy wants 'em that way, then I'd make sure that you have a good interval between the drums (bigger differences note-to-note between the toms), and then it's up the the soundguy's skill with the eq to carve out areas within the frequency range for each drum. Final thing to keep in mind: Tell your guitarist and bassist to stop hogging frequencies. If your gutiarist is using the entire frequency range, and the bassist is too, you'll have no "space" to climb in. Link to comment Share on other sites More sharing options...
Members 1001gear Posted December 16, 2006 Members Share Posted December 16, 2006 Since the problem is spectrally based, self editing would go a long way as well. When competing with overdriven bass for instance, forget the detail and pound out the shape of the figure. You can always sneak in references to your ability when things are more transparent. If you find that too constricting, you could then resort to rotos with black dots. Link to comment Share on other sites More sharing options...
Members mparsons Posted December 16, 2006 Members Share Posted December 16, 2006 Ask tmetaler He manages to have his kit cut through two guitarists, a bassist, and a keyboardist Link to comment Share on other sites More sharing options...
Members sidereal Posted December 17, 2006 Members Share Posted December 17, 2006 I agree with what everyone's said about single-ply heads tuned high. As I'm typing this, I can hear Genesis' "Selling England By the Pound" behind a door down the hall in the other room. All I hear are toms. Toms are midrange instruments, and there's a lot of competition for the real estate in that area: guitars, vocals, keyboard parts, reverb settings, room reflections, etc. You may want to experiment with different EQ'ing options to try and brighten them up while also keeping the natural sound intact. Link to comment Share on other sites More sharing options...
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