| craig wrote on Thu, 26 January 2006 06:13 |
Here's a neat trick with a de-esser that works well on kick drum in some situations. Using the HF band of a multi band comp will work too, and it may even be more useful than a de-esser if it gives you lots of control over the crossover points.
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Alternatively, I've discovered that I can get all the "click" I want without EQ, by using a transient designer followed by an LA2A (plug-ins). It actually creates high frequencies out of nothing. Remember, time domain and frequency domain are two names for the same thing.
On one occasion, I was able to rescue a very badly recorded kick with tons of cymbal leakage. I band-passed it so that it was just a dull thump, and created an attack with the aformementioned technique.
When it comes to drum sound manipulation, Cubase/Nuendo is rather brilliant, because you can run "strip silence" on a kick or snare track, select all the hits at once, and apply Envelope, Normalize, complex Fade curves, or even varispeed to all the hits at once. Thus, I can manipulate the drum hits as if they're samples.
To reduce the hat leakage on the snare, I use a dynamic EQ technique. I run "strip silence," mult the track, lowpass the second track, and adjust the fade handles so that the first track fades into the second track on every hit. You need a linear-phase EQ and Nuendo-type editing to do this.
Alternatively, I might use an envelope follower with the kick or snare modulating itself. It creates a nice, clean sound with a good attack. Unfortunately, it exaggerates any inconsistencies in the drummer's hitting and you have to follow it with an L1.
So the upshot of all this is, I hate samples and I go to great lengths to avoid using them.
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Topic: recording snare and bass drum for "speed" metal (Read 14787 times)