So this is a question for guys making heavy rock music WITHOUT samples.
When you mic up a kit, are you able to get all the mics in phase with each other? and by that, I mean, not only are the close mics in phase with the overheads, but are you able to get the snare bleed in the tom mics in phase, or at least supporting the snare?
Or do you just say screw it and strip out the tom bleed?
I find that about 95% of the time I have to gate toms to get rid of snare bleed that would otherwise hurt my snare sound.
Recently I switched to an xy set above center of the kit, and by careful positioning of all the toms about the same vertical height, and moving them slightly closer and farther away from each other, i was able to get all the mics to support each other with no cancelation. It was glorious. However, I realize it's unlikely a drummer will be willing to record like this.
I've also noticed that larger toms seem to be more difficult to get this to happen. My theory is that their fundamental frequency will be much lower than the snare, and that lower fundamental frequency will most likely be at a different positive or negative cycle when it reaches the overhead mics.
Anyone else have anything to add to this?
B
When you mic up a kit, are you able to get all the mics in phase with each other? and by that, I mean, not only are the close mics in phase with the overheads, but are you able to get the snare bleed in the tom mics in phase, or at least supporting the snare?
Or do you just say screw it and strip out the tom bleed?
I find that about 95% of the time I have to gate toms to get rid of snare bleed that would otherwise hurt my snare sound.
Recently I switched to an xy set above center of the kit, and by careful positioning of all the toms about the same vertical height, and moving them slightly closer and farther away from each other, i was able to get all the mics to support each other with no cancelation. It was glorious. However, I realize it's unlikely a drummer will be willing to record like this.
I've also noticed that larger toms seem to be more difficult to get this to happen. My theory is that their fundamental frequency will be much lower than the snare, and that lower fundamental frequency will most likely be at a different positive or negative cycle when it reaches the overhead mics.
Anyone else have anything to add to this?
B
Drum Micing Phase
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