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Are there some gaians who do this as a job or just for hobby? I do, and I also record songs... so if there is someone who want to give me some advice I'd be glad to post some stuff and let you judge me! eek
Dakoom
Are there some gaians who do this as a job or just for hobby? I do, and I also record songs... so if there is someone who want to give me some advice I'd be glad to post some stuff and let you judge me! eek

Hello! I'm a trainee recording engineer in London, on my industrial year at university. I actually just set up a guild for people like us:
http://www.gaiaonline.com/guilds-home/the-music-technology-guild/g.421155/
Check it out! I just invited you smile
knightofthe21stcentury
Dakoom
Are there some gaians who do this as a job or just for hobby? I do, and I also record songs... so if there is someone who want to give me some advice I'd be glad to post some stuff and let you judge me! eek

Hello! I'm a trainee recording engineer in London, on my industrial year at university. I actually just set up a guild for people like us:
http://www.gaiaonline.com/guilds-home/the-music-technology-guild/g.421155/
Check it out! I just invited you smile


Thank you! Invite accepted!

Genius

Yes, I am. What do you want advice on?
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?

Genius

Dakoom
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?
My personal favorite method is a slightly modified Glyn Johns. If you aren't already familiar with the Glyn Johns technique, it's a four mic set up that's basically a LDC over the snare, another to the right of the kit equidistant from the snare, and close mics on the kick and snare. That set up is good and works for some styles, but I feel like the toms aren't big enough and the snare isn't snarey enough, so my solution is adding bottom mics to the snare and toms. You don't want to close mic the toms on top, though. The LDC's get a great tom top sound on their own and close mics on the tops gets way phasey. Another trick to this set up is to mix the kit by positioning things, like I find fairly low cymbals to be preferable. The cymbals will sound less harsh and you get more of the rest of the kit in the LDC's, and because there are no close mics on the tom tops, you don't have to worry about anything getting in the way. It's important that the two LDC's have a pretty solid mix, because that's where most of your good sound is going to be. The close mics just compliment the sound.

I usually stack a sample under the kick for added tightness and low end, but that's all. And not with an actual trigger like the kind you clip on. I tried that once and it sucked. I do it with a tool in my daw that makes a MIDI track from an audio region when I go to mix, after I've already comped and timed everything.
Jordamn
Dakoom
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?
My personal favorite method is a slightly modified Glyn Johns. If you aren't already familiar with the Glyn Johns technique, it's a four mic set up that's basically a LDC over the snare, another to the right of the kit equidistant from the snare, and close mics on the kick and snare. That set up is good and works for some styles, but I feel like the toms aren't big enough and the snare isn't snarey enough, so my solution is adding bottom mics to the snare and toms. You don't want to close mic the toms on top, though. The LDC's get a great tom top sound on their own and close mics on the tops gets way phasey. Another trick to this set up is to mix the kit by positioning things, like I find fairly low cymbals to be preferable. The cymbals will sound less harsh and you get more of the rest of the kit in the LDC's, and because there are no close mics on the tom tops, you don't have to worry about anything getting in the way. It's important that the two LDC's have a pretty solid mix, because that's where most of your good sound is going to be. The close mics just compliment the sound.

I usually stack a sample under the kick for added tightness and low end, but that's all. And not with an actual trigger like the kind you clip on. I tried that once and it sucked. I do it with a tool in my daw that makes a MIDI track from an audio region when I go to mix, after I've already comped and timed everything.


Good to know. I'd not heard of this Glyn Johns technique. Anyway, I did the same for triggering using the midi track. In Logic Pro 9 when you set the transient in the audio region, then you can automatically create the midi region for it. I used to select all the events and then use same velocity for the entire song with a good kick/snare sound. I'm talking about rock songs with a "radio-style" production. Here is one of my best jobs:
https://soundcloud.com/skullmonkeysband/babyloon-skullmonkeys-slugs-ep
Let me know what do you think. Recorded with a €300,000 drum kit. Triggered. razz

eek

Genius

Dakoom
Jordamn
Dakoom
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?
My personal favorite method is a slightly modified Glyn Johns. If you aren't already familiar with the Glyn Johns technique, it's a four mic set up that's basically a LDC over the snare, another to the right of the kit equidistant from the snare, and close mics on the kick and snare. That set up is good and works for some styles, but I feel like the toms aren't big enough and the snare isn't snarey enough, so my solution is adding bottom mics to the snare and toms. You don't want to close mic the toms on top, though. The LDC's get a great tom top sound on their own and close mics on the tops gets way phasey. Another trick to this set up is to mix the kit by positioning things, like I find fairly low cymbals to be preferable. The cymbals will sound less harsh and you get more of the rest of the kit in the LDC's, and because there are no close mics on the tom tops, you don't have to worry about anything getting in the way. It's important that the two LDC's have a pretty solid mix, because that's where most of your good sound is going to be. The close mics just compliment the sound.

I usually stack a sample under the kick for added tightness and low end, but that's all. And not with an actual trigger like the kind you clip on. I tried that once and it sucked. I do it with a tool in my daw that makes a MIDI track from an audio region when I go to mix, after I've already comped and timed everything.


Good to know. I'd not heard of this Glyn Johns technique. Anyway, I did the same for triggering using the midi track. In Logic Pro 9 when you set the transient in the audio region, then you can automatically create the midi region for it. I used to select all the events and then use same velocity for the entire song with a good kick/snare sound. I'm talking about rock songs with a "radio-style" production. Here is one of my best jobs:
https://soundcloud.com/skullmonkeysband/babyloon-skullmonkeys-slugs-ep
Let me know what do you think. Recorded with a €300,000 drum kit. Triggered. razz

eek
Haha, yeah that's what I do for my MIDI kick to blend it in. Also using Logic 9. But you shouldn't level out the velocity completely imo. It'll sound more lifelike if you bring up the velocity exponentially on a curve. Having everything on mostly one velocity can sound fine if you have good dynamic controls in your drum plug in, like I know BFD2 has pretty good controls for that when you really dive into it. That's what I use when structuring songs before I have a session drummer come in and do a live kit. Or with a band for ironing out the arrangement before the drummer records. Though, to be honest, I wouldn't have noticed in your mix. It doesn't sound obvious.

I don't have time to really listen too critically at the moment, but what I heard sounds good. Really grungy, but I think that was the goal. Sample replacing drums works well for heavy genres, but it doesn't work for all styles. Like it would sound cheap on blues or country. Nashville drummers would kill you if you replaced their drums, haha. I myself prefer the sound of a live kit (or at least half live kit with layers) on heavy music too because I feel like it gives the mix more uniqueness, but that's a personal preference. This doesn't sound all that "radio" to me, though. We don't have a station that plays music like that. This is more what I think of when I think of radio rock. Wait, are you saying you replaced a €300,000 drum kit, or you replaced a cheap drum kit with samples of a €300,000 drum kit? And what drum kit is €300,000?? You can get a great kit for under $10,000.
Jordamn
Dakoom
Jordamn
Dakoom
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?
My personal favorite method is a slightly modified Glyn Johns. If you aren't already familiar with the Glyn Johns technique, it's a four mic set up that's basically a LDC over the snare, another to the right of the kit equidistant from the snare, and close mics on the kick and snare. That set up is good and works for some styles, but I feel like the toms aren't big enough and the snare isn't snarey enough, so my solution is adding bottom mics to the snare and toms. You don't want to close mic the toms on top, though. The LDC's get a great tom top sound on their own and close mics on the tops gets way phasey. Another trick to this set up is to mix the kit by positioning things, like I find fairly low cymbals to be preferable. The cymbals will sound less harsh and you get more of the rest of the kit in the LDC's, and because there are no close mics on the tom tops, you don't have to worry about anything getting in the way. It's important that the two LDC's have a pretty solid mix, because that's where most of your good sound is going to be. The close mics just compliment the sound.

I usually stack a sample under the kick for added tightness and low end, but that's all. And not with an actual trigger like the kind you clip on. I tried that once and it sucked. I do it with a tool in my daw that makes a MIDI track from an audio region when I go to mix, after I've already comped and timed everything.


Good to know. I'd not heard of this Glyn Johns technique. Anyway, I did the same for triggering using the midi track. In Logic Pro 9 when you set the transient in the audio region, then you can automatically create the midi region for it. I used to select all the events and then use same velocity for the entire song with a good kick/snare sound. I'm talking about rock songs with a "radio-style" production. Here is one of my best jobs:
https://soundcloud.com/skullmonkeysband/babyloon-skullmonkeys-slugs-ep
Let me know what do you think. Recorded with a €300,000 drum kit. Triggered. razz

eek
Haha, yeah that's what I do for my MIDI kick to blend it in. Also using Logic 9. But you shouldn't level out the velocity completely imo. It'll sound more lifelike if you bring up the velocity exponentially on a curve. Having everything on mostly one velocity can sound fine if you have good dynamic controls in your drum plug in, like I know BFD2 has pretty good controls for that when you really dive into it. That's what I use when structuring songs before I have a session drummer come in and do a live kit. Or with a band for ironing out the arrangement before the drummer records. Though, to be honest, I wouldn't have noticed in your mix. It doesn't sound obvious.

I don't have time to really listen too critically at the moment, but what I heard sounds good. Really grungy, but I think that was the goal. Sample replacing drums works well for heavy genres, but it doesn't work for all styles. Like it would sound cheap on blues or country. Nashville drummers would kill you if you replaced their drums, haha. I myself prefer the sound of a live kit (or at least half live kit with layers) on heavy music too because I feel like it gives the mix more uniqueness, but that's a personal preference. This doesn't sound all that "radio" to me, though. We don't have a station that plays music like that. This is more what I think of when I think of radio rock. Wait, are you saying you replaced a €300,000 drum kit, or you replaced a cheap drum kit with samples of a €300,000 drum kit? And what drum kit is €300,000?? You can get a great kit for under $10,000.


No no I meant €300,00. LOL! Excuse me, that one more zero was my fault. I triggered a cheap €300,00 drum kit.
Anyway, yeah, I called it "radio sound" or whatever just to give you the idea. I've tried BFD2 (cracked) but I don't like it. Togheter with an old friend I bought the Steven Slate drum samles, so I'm using those, but for the song I linked (Babyloon) I used on snare a sample taken from Logic Pro 9 library... and for the kick... I personally sampled the drum kick sound from the song Your Decision (Alice in Chains). eek

Genius

Dakoom
Jordamn
Dakoom
Jordamn
Dakoom
Jordamn
Yes, I am. What do you want advice on?


Hi Jordamn, what's your best method in recording drums? Do you use triggers after you have recorded?
My personal favorite method is a slightly modified Glyn Johns. If you aren't already familiar with the Glyn Johns technique, it's a four mic set up that's basically a LDC over the snare, another to the right of the kit equidistant from the snare, and close mics on the kick and snare. That set up is good and works for some styles, but I feel like the toms aren't big enough and the snare isn't snarey enough, so my solution is adding bottom mics to the snare and toms. You don't want to close mic the toms on top, though. The LDC's get a great tom top sound on their own and close mics on the tops gets way phasey. Another trick to this set up is to mix the kit by positioning things, like I find fairly low cymbals to be preferable. The cymbals will sound less harsh and you get more of the rest of the kit in the LDC's, and because there are no close mics on the tom tops, you don't have to worry about anything getting in the way. It's important that the two LDC's have a pretty solid mix, because that's where most of your good sound is going to be. The close mics just compliment the sound.

I usually stack a sample under the kick for added tightness and low end, but that's all. And not with an actual trigger like the kind you clip on. I tried that once and it sucked. I do it with a tool in my daw that makes a MIDI track from an audio region when I go to mix, after I've already comped and timed everything.


Good to know. I'd not heard of this Glyn Johns technique. Anyway, I did the same for triggering using the midi track. In Logic Pro 9 when you set the transient in the audio region, then you can automatically create the midi region for it. I used to select all the events and then use same velocity for the entire song with a good kick/snare sound. I'm talking about rock songs with a "radio-style" production. Here is one of my best jobs:
https://soundcloud.com/skullmonkeysband/babyloon-skullmonkeys-slugs-ep
Let me know what do you think. Recorded with a €300,000 drum kit. Triggered. razz

eek
Haha, yeah that's what I do for my MIDI kick to blend it in. Also using Logic 9. But you shouldn't level out the velocity completely imo. It'll sound more lifelike if you bring up the velocity exponentially on a curve. Having everything on mostly one velocity can sound fine if you have good dynamic controls in your drum plug in, like I know BFD2 has pretty good controls for that when you really dive into it. That's what I use when structuring songs before I have a session drummer come in and do a live kit. Or with a band for ironing out the arrangement before the drummer records. Though, to be honest, I wouldn't have noticed in your mix. It doesn't sound obvious.

I don't have time to really listen too critically at the moment, but what I heard sounds good. Really grungy, but I think that was the goal. Sample replacing drums works well for heavy genres, but it doesn't work for all styles. Like it would sound cheap on blues or country. Nashville drummers would kill you if you replaced their drums, haha. I myself prefer the sound of a live kit (or at least half live kit with layers) on heavy music too because I feel like it gives the mix more uniqueness, but that's a personal preference. This doesn't sound all that "radio" to me, though. We don't have a station that plays music like that. This is more what I think of when I think of radio rock. Wait, are you saying you replaced a €300,000 drum kit, or you replaced a cheap drum kit with samples of a €300,000 drum kit? And what drum kit is €300,000?? You can get a great kit for under $10,000.


No no I meant €300,00. LOL! Excuse me, that one more zero was my fault. I triggered a cheap €300,00 drum kit.
Anyway, yeah, I called it "radio sound" or whatever just to give you the idea. I've tried BFD2 (cracked) but I don't like it. Togheter with an old friend I bought the Steven Slate drum samles, so I'm using those, but for the song I linked (Babyloon) I used on snare a sample taken from Logic Pro 9 library... and for the kick... I personally sampled the drum kick sound from the song Your Decision (Alice in Chains). eek
Oh, I see. Yeah, the Steven Slate ones are good for metal and such.

Supreme Demigod

I'm a sound engineer, multi-instrumentalist, singer, songwriter, and composer. I'm going to school for music and sound engineering right now, while I'm also juggling a luthier internship. When life gives you the ability and opportunity to jump into music; jump into the deep end.

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