I've read what seems like 50 different ways of compressing the room mics. I'll start by saying I'm definitely going for a John Bonham(no, we don't have him for a drummer, but someone who plays similar) type sound.
Just wondering mostly what methods people are using for setting the attack and release...I already know to squash it a lot. I've read about people using the kick as a trigger in the sidechain.
Ideas?
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When I crunch drums, I have used my Orban 418A, which has a peak
When I crunch drums, I have used my Orban 418A, which has a peak detector (direct relative to the original Orban Optimod final FM radio processor). I've also use my 1176s, stereo strapped, and unstraped with their peak detectors I have also used a DBX 166 which has an RMS detector and quite a bit different from the above two devices. All three sound different regardless of where you have the attack/release settings set.
I would use a relatively fast attack. I would selectively adjust the release for the amount of apparent loudness versus pumping. Both could be good and both could be bad but it depends how much you rock down. For what you're asking I wouldn't key the overheads from the bass drum, or any others for that matter. Just let them fly.
Remy Ann David
Try searching these forums for "drum compression". I bet there w
Try searching these forums for "drum compression". I bet there will be a few hits that will lead to some ideas.