Question for Remy

Discussion in 'Microphones (live or studio)' started by TukarStudio, Jan 14, 2010.

  1. TukarStudio

    TukarStudio Guest

    Hey Remy,

    Once upon a time I ran across a post from you about mixing drums. All I remember was you talking about inverting the Kick drum signal. I think you also said to invert the overheads? I can't find the post anymore and I was hoping you could either find that post or re-explain your process again.

    Lost in Phase
    Ken - Tukar Studio
  2. TukarStudio

    TukarStudio Guest

    OK. Anybody else remember this or can find the thread?

  3. jg49

    jg49 Well-Known Member

    Oct 16, 2008
    Frozen Tundra of CT
    Remy wrote "I have done an extraordinary amount of live recording with my remote truck since 1991. My consoles have always been top-of-the-line Sphere circa 1978 from 1991 through 1996 and then a vintage Neve circa 1974. Good preamps with plenty of headroom really make drums sound good. If you don't have a great console, you may very well want to initialize the microphone pad and/or keep your gain trim lower to increase headroom. This is what really makes the huge difference in sound between cheap microphone preamps and the real deal.

    Most of the time my bass drum microphones are usually pre-miked by the PA guy, with anything from a Shure SM57, Beta 52, Sennheiser MD421, AKG D12/112, Electro-Voice RE20 and rarely a condenser microphone, unless it is a PZM or boundary microphone.

    In the studio, I generally prefer a MD421 or, SM57. Sometimes I'll use my AKG D112 or my Electro-Voice RE20 but I really love the 421.

    As to how to get that gigantic bass drum sound once you have worked out your microphone selection, placement and gain settings?? If you have a good sounding bass drum and your microphone is pleasantly and haphazardly placed (like I do), you'll want to add some compression, without too fast of an attack and a fairly quick release so as not to add too much distortion, followed by a gate. The compression will generally help to sustain the resonance. Then you want to add a very short digital plate style reverb or inverse reverb, generally from my Lexicon's of which I have numerous types but others will do (I never liked the Yamaha for that purpose because it always felt too muddy to me). And with that, you get a nice fat "Blop" followed by a bit of "foom" which gives you "GigantoKick".

    The finishing touch is to invert the phase of the bass drum track or while tracking it. This will make the bass drum appear tighter and more solid with reference to the rest of the drum kit, while the compression helps to sustain the resonance and the gate/downward expander gets rid of the trash leakage and allows the digital reverb to bloom.

    You really didn't think that was the sound of a room did you? Sometimes it is. Most of the time, it's digital processing for drums tracked in smaller rooms. Most rooms don't have that kind of reverb sustaine.

    Now wasn't that simple?
    Ms. Remy Ann David "

    from thread , which I found by doing a forum search "invert phase on kick drum"
  4. TukarStudio

    TukarStudio Guest

    Wow thanks jg,
  5. RemyRAD

    RemyRAD Member

    Sep 26, 2005
    I'll second that. Or did I first that? But no, no inverting of phase on the overheads.

    Sorry I have been re-outfitting the truck. I go e-mail blank since there is no WiFi where I'm parked. I can only spend so much time at McDonald's.

    I'll be trying out something new at the SINIX nightclub Saturday, February 6. It's on Eastern Avenue near the Baltimore Beltway. Stop on by if you stop on by.

    CROW mobile
    Mx. Remy Ann David

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