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Why does the track sound different after bounce

I was gonna ask you guys if the drums on this track sound as if they sit in a
believable space . I tracked the cymbals first then the snare/tom on its own track.
I bounced the track and noticed the bass just took off ,way more than when it was in the session.
Why is this so ,and do you have the same issue after bouncing , if you do bounce ?

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kmetal Thu, 12/25/2014 - 00:12
Drums sound good. onbviously whatever sounds good is good, but just curious about the hpf being all the way up at 1k? Jw what's getting in there you don't like, and if maybe there's a solution that gets more to the root of it, like perhaps tuning, or some blankets, or some duct tape. Especially w minimal bleed from the kick pad.

pcrecord Thu, 12/25/2014 - 05:54
Smashh, post: 422506, member: 45856 wrote: Actually early on , about the 4th 5th hit on the snare it sounds better.
That must be the sweet spot :sneaky:

Obviously, the best sounds you are gonna get with snares and toms is when you hit them in the center. Some make and models will sound good when hit off center a bit but the OK distance will vary with the quality of the instrument and the tunning. Yes tunning ! (so many drummers have no clue how to tune their drums. but in this case they don't sound so bad) ;)

Member Wed, 12/17/2014 - 05:10
It depends on what you are after, here. For a more modern sound, I'd say it needs some work. On the other hand, if you are looking at copping a more retro blues vibe like this:


I think you are pretty close if you'd pull the snare back into the mix, and consider giving all the instruments the same "space" in terms of using just one verb.

Member Thu, 01/01/2015 - 04:27
Ash... with Blumlein, you are using two figure 8 mics ( As Marco mentioned, for assurance of best quality and to avid potential phasing issues, it's always best to try and use a matched pair of mics) the result of which is a very realistic (and great sounding) stereo image.

The array is set up so that the pick-up patterns between the two microphones is aimed towards the source. The pickup patterns of the pair, along with their position, delivers a very nice sounding stereo image - both in the direct signal you are recording, as well as the direct signal in the room. However, this part leads us to an important caveat - you really do need to have a good sounding room to pull it off, because, along with the direct source, you are also picking up the sound of the room to a great extent. So, if your room sounds acoustically poor, the result will be a fantastic stereo recreation of a poor sounding room. LOL

If you do have a nice sounding room, this array sounds great on acoustic instruments, such as acoustic guitar, violin, mandolin, etc.

Here's how it looks in terms of polarity:



Smashh Wed, 12/17/2014 - 20:23
I set up the kit and used the nt5 s ohs , 414 about 4 feet out front, and 57 on snare top , 58s on toms
There is no reverb plug ins (y)
The only eq ing is a hp filter on the snare 57 at about 1 k . That boing on the snare is almost annoying when listening without other instruments.
The snare is a gretch catalina birch. I cant tame the boing as I would like.
Im thinking that it will have to be tuned in for key for each song so its not so noticeable.?

Actually early on , about the 4th 5th hit on the snare it sounds better.
That must be the sweet spot :sneaky:
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audiokid Wed, 12/17/2014 - 21:22
I'm still on the first example, I liked the reverb but maybe too long and too different from the rest of the music . Other than the snare being a bit loud, for this style of music I like a common reverb that glues all the tracks like it was performed together. The snare as an example, sounds out of place to the Sax on the mere fact of the reverb not sharing the same emulated space.

paulears Thu, 12/18/2014 - 02:42
The ring on the snare doesn't bother me at all - it's low enough to be masked by the rest - in fact often the rest of the kit masks it, with just the occasional exposed place. The low toms need damping down a tad for my taste, having a bit of a booooooom. Sounds fine - I'd use it! I've never been a fan of adjusting a snare's sound for different songs, unless the drummer does it as part of his sound. Decent snares don't like being messed with! You might just find a position where a touch of loo roll and gaffer will just tame it out, if the drummer is happy with this kind of thing.

Member Sun, 12/28/2014 - 08:26
Hmmm... as a drummer, I can honestly say that I wouldn't let anyone near my Yammies with any tape of any kind, and while you're at it, just go ahead and put that tissue paper down, too. Now, back up slowly... ;)

If the drums are set up in a decent sounding room, are properly tuned, have fresh heads, are hit the right way by a drummer who knows how to play, and EQ'd by someone who knows what they are doing, you shouldn't have to duct tape anything.

My two pesos. :coffee:


pcrecord Sun, 12/28/2014 - 14:11
The use of mufflers always unveil those who don't know how to tune. In a bad room or on stage I'll sometime use some moongel, but it is exceptionnal.

There is a few tools to help tunning, apps like :

But a good tunning starts with fresh drum heads, well sitted overnight.
That reminds me that mine are very well overdue.. lol ;)

kmetal Sun, 12/28/2014 - 22:09
I like the kick pillow from Vic firth or one of the company's, it's two pieces veclcrod so to can adjust it to the drum size. Moon gels and ringers are nice and clean and effective, but defiantly use my fair share of tape and paper towels :)

how do you guys like your batter heads tuned in General? I'd love to take some lessons from someone good about drum tuning, I can tune out bad rings, and rattles and stuff, but I'd be great to watch an old pro at work doing this a few times.

Directionality of the mics is huge in a kit too, not that that has much to do with the OP but..

Smashh Mon, 12/29/2014 - 08:47
Had to laugh at a review of the app , " Its a great app , but I don't know how to use it .... " he he

Weve made some rings with old heads here , I used them plus the tape and the tissues ... probably just strangled the poor drum to death ,and then beat it .. !
Im not liking where our snare drum has its tone I guess . Definately need to keep experimenting with this. I can see why people have lots of snare drums
ready to change up.

the mics were pointing down at the drums more than across them on the last test .

Whats your favourite frequency for a snare drum if you dont mind me asking ?

Smashh Tue, 12/30/2014 - 07:56
latest test for drum mic ing . The snare has a ringer and tissue gaffered to it .
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I used the 414 on acoustic guitars , next time I will tame the harsh top on them.
Experimenting with the polar pattern on the AkG 414 . The guitars have a figure 8 pattern . Im thinking a wider pattern would suit the strumming guitar.

Boswell Tue, 12/16/2014 - 02:57
"Bouncing" is a process that is used if you have a track-limited step such as a tape machine in your workflow. The term is also used loosely in computer-based processing to indicate a block of tracks with attendant effects is to be printed and treated as an entity in subsequent processing, similar to a group. I'm guessing the tape stage does not apply to you, so could you give us more detail on your workflow?

It's hard to comment on what might have happened to the bass in your recording without hearing the mix prior to this stage. As it stands, the bass is eminently controllable using a little EQ, but maybe your question is more along the lines as to why should you have to do this. One thing to check is that the export levels are in the same ratios as the monitoring levels. It's easy to miss this on something like a parallel effect track that was not present as one of the raw tracks.

I have more concern over your tracking of the drum kit. The snare does not seem to slot into in the groove that the rest of the band are doing a great job of holding together, and the cymbals are a bit brash for the music style, at least to my ears.