Giles,

Did you try putting the delay on the entire kit from the o/head mic? The problem with this is that it can sound a bit "too much", as it's all-the-kit-or-nothing as far as the delay is concerned. Did you track any individual drums? If so, you could try taking a submix of say the snare and a bit of o/head and delaying this. This way you're delaying the drum sound itself without so much of the room sound, which can sound "clogged" when delayed/doubled....

If you've only got mono tracks to work with, it may be worth trying a bandwidth-limited delay...try EQing the delay send or return....might be worth a try (watch out for clipping when EQing the send!. I use delay and doubling a lot on a drum machine, and it gets a good (better :D !?) sound. Tape delay is cool too, because it is naturally bandwidth limited.

To help it blend in, you could amp the delay signal and re-mic it in the room you recorded in?

I find there are so many possibilities with drums :eek: Hope this helps in some way!

:c:

Mark

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"Oscillators don't, amplifiers do....."
Anon.

thanks, Mark, I'll try that. I do have an EQ which has nice smooth curves from bass to high mid / treble - I'll try rolling those off and I guess that'd leave much more of the echo on the snare.
Cheers, Giles

giles,

I have been tracking drums with two overheads (primary) and then accenting by micing the snare and kick. I drive the sound with the overheads and eq for a nice full sound (a little short on lowend) with just the overheads. Then I add the kick and EQ it into the mix to fill in the void in the lowend. Then I add the snare with a bit of a mid crack and put delay on the snare only.

I have found that I do not need much of the solo snare and the verb on it, since it is only on that track, is pretty natural sounding.

If you are getting a full sound with just overheads now, you have the tough part licked. Add the snare mic and rock on.

Good luck, post your results for us to hear.

Jim