Skip to main content

Here’s one I’ve been working on. any feedback or ideas
 

Attached files me too remaster.mp3 (8.5 MB) 

Comments

pcrecord Tue, 01/19/2021 - 05:08

I like the arrangement, very nice ambiance..
The only bothering me is the agressive frequencies in the cymbals.. The could be level down but even then, the frequencies are harsh.
I'm wandering if you hear them on your side. Did you use a lot of foam in your room, most foam will absorbe frequencies above 1k and will throw of the frequency balance of your room..

Anyway, as a demo to show your work, it's fantastic..
Good job !!

pcrecord Tue, 01/19/2021 - 08:28

Bonecrusher1, post: 466888, member: 52275 wrote:
Not rigid fiberglass but 2” thick mineral wool wrapped in fabric inside frames. Room was pretty much an echo chamber before...now it’s quite dead

This is a lot better than having walls full of thin foam.. but the more I listen to it, the more I thinks it's the mic/instrument combinaison that makes the HF harsh.. Testing with a sm57 mais resolve the issue.. or if you have no other choice, you could use a deesser one the OV tracks to controle the frequencies between 3k and 12k.
Another thing, you could turned the OV mics so they don't point directly at the cymbals.. Usually sound coming at an angle will have a bit less HF..

Davedog Tue, 01/19/2021 - 11:00

I find that with a room thats a box that an X/Y on the overheads is a better setup rather than coincidental.

And for what it's worth....I never use overheads to "pickup" individual cymbals but rather as a way of creating a feeling of space around the kit. If you want to "pickup" a specific cymbal mic it from underneath and angle it for tone.

Davedog Tue, 01/19/2021 - 19:51

Somehow I thought your panels were 2" thick. A single layer with a gap above will work as well. So only two panels needed. To make the 4' X 4' as Link 555 has suggested. I was thinking you could stack them to make the 4" of cloud material. A 2" gap above that would be adequate. You are trying to diffuse rather than deaden.

Davedog Wed, 01/20/2021 - 08:43

I like the pallet thing. But the rockwool over the top is the way to go. Whatever you do, look at your room as a series of sections. If this is to be your drum position it your room then treat it as such. If it's non-static and can move around according to needs, then a ceiling hook system when you can apply cloud wherever needed might be a thought. You don't have enough structure to really think about absorption but you can difuse with some absorption and this will keep first order reflections and most flutter out of your overheads.

audiokid Wed, 01/20/2021 - 12:55

pcrecord, post: 466891, member: 46460 wrote:
This is a lot better than having walls full of thin foam.. but the more I listen to it, the more I thinks it's the mic/instrument combinaison that makes the HF harsh.. Testing with a sm57 mais resolve the issue.. or if you have no other choice, you could use a deesser one the OV tracks to controle the frequencies between 3k and 12k.
Another thing, you could turned the OV mics so they don't point directly at the cymbals.. Usually sound coming at an angle will have a bit less HF..

I hear excessive sub peaks which is related to standing waves. This would be why you were wondering why CD's sound good on small speakers but not with your mixes. A common problem with small rooms and low ceilings.

The Great Fall Wed, 01/20/2021 - 19:16

I’ve got some mic positioning and panel arrangement to experiment with.... not as fun as tracking but sounds like it’s crucial for a great mix.... should I work these things out until I get a great mix dry going in without any eq or comp or will even the best treated rooms and mic placements always require a bit of sweetening going in?

audiokid Wed, 01/20/2021 - 19:52

Bonecrusher1, post: 466965, member: 52275 wrote:
I’ve often wondered if a project could possibly be tracked so well no mixing or mastering would be necessary

Well recorded songs are a dream to mix as they pretty much “mix themselves” because they sound great to start with.

Mixing engineers are also a second set of ears.

I think you always need to get mastering done because they too are at the very least, a second set of ears that also put the polish on in just the right spots!

being said,
I mix and master my stuff because I love doing it all. If I was hired to produce something i wanted done the best way possible, I would recommend hiring independent recording, mixing and mastering engineers.

audiokid Wed, 01/20/2021 - 20:34

Well, look at my profile and you'll see what I've been blessed with. After all I've owned there is no doubt in my mind great gear is very important but the room is without question the most essential part to it all.

All the best gear in the world won't help you mix in a shit room. If your room acoustics are lying to you, you are working blind.
Get your room right and you will be able to mix music that sounds great in everyone system.

Being said... I have been lusting over owning a 251 Telefunken for years.

pcrecord Fri, 01/22/2021 - 06:26

Bonecrusher1, post: 466971, member: 52275 wrote:
If you had to pick one would it be the perfect room or vintage telefunkens and neves?

It would make no sense to spend 20K on mics and preamps but not put 500$ for room acoustics (DIY)..

Audio recording is like a cake, if you don't have all the ingredients right, it won't work ! ;)

KurtFoster Fri, 01/22/2021 - 15:14

Bonecrusher1, post: 466971, member: 52275 wrote:
If you had to pick one would it be the perfect room or vintage telefunkens and neves?

room. a perfect room will need minimal treatments and will record well with less processing. next important is mics and speakers (transducers). the next thing is a good monitoring environment. if you have those 3 things, you won't need a ton of gear. a few good mics and pres, a couple of good compressors and a decent reverb and you're ready to make records.