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Eqing For Drums, please help.

Discussion in 'Recording Gear and Equipment [BG]' started by santucci218, Oct 27, 2009.

  1. santucci218


    Jan 26, 2007
    Im getting into making my own little songs with my H2. I got adobe audition and i have been learning, so expect nothing but a really bad song pretty much. I can get an OK sound of of guitar and such. My bass track sounds bad as i am not great at micing the cab apparently. Anyways, my real problem are these little drum loops i downloaded. they dont sound bad, but i just cant fit them in the mix exactly. If needed, ill send my horrid clip to you guys, so just ask. Any help would be great though!
  2. RickenBoogie


    Jul 22, 2007
    Dallas, TX
    I can't help with your drums, but if you record the bass direct, it'll be alot cleaner and better sounding. Micing a bass cab is tricky biz, and a good mic is important. An SM57 won't cut it.
  3. santucci218


    Jan 26, 2007
    thank you much mr boogie, I plan on getting a firewire interface asap!
  4. D.A.R.K.

    D.A.R.K. Supporting Member

    Aug 20, 2003
    i've used 57's with great results for years and years, no need to underestimate work horse mics.
    with any mic, you will need to try different positions in order to find the best spot to suit your needs.
    sometimes the dirt from a mic can be exactly what you need to make the bass sit in context in the mix!
    di is definitely the easiest way to get a quick, clean signal.
    as for the drum mixing, it's all about context, just like using a mic.
    perhaps getting all the parts up together for a listen before attempting to "carve"
    will help you figure out what's lacking or overly potent...
  5. santucci218


    Jan 26, 2007
    eah, micing things just seems too complex and too much time for me. I'm not looking to have studio quality stuff here. I'm looking to have a nice sounding mix is all. simple enough. i play bass, i play guitar, i have many a drum loops and im ready to do it! Drums just seem to either sound buried or WAY too bright
  6. Yeah its a common problem even up to big expensive mixes, getting the drums to sound heavy and present but not in the way of anything.

    the trouble you have is that with loops you can only eq the whole thing, the normal proces would be to have seperate drum track, ie snare, kick, overheads etc and process them all differently, that way you can boost the highs on the kick and the snare to get them to cut through without making the overheads overly bright etc. it can be done with a loop, but theres no set way to do it. you could do with a bit of compresion to see if that helps, compression brigs things together and can push an element to the front of a mix. EQ may help but it is very much a case of finding what works for the loops you have, try boosting various different areas, especially in the mids, to see if it helps the drums poke through. you could also try cutting the other instruments in the areas you think the drums sound good, though you may find that you are just going round in circles to start with!

    A good mix takes time and a lot of ear-stamina, ie bein able to listne for a long time and still make good decisions, but you will get it in the end!
  7. santucci218


    Jan 26, 2007
    i just need to find a drummer with an electronic kit!
  8. Ronan


    Jun 5, 2006
    Los Angeles
    There is not really a one size fits all option. EQing is a master of getting things to work together, making sure that the different parts are supporting each other rather than fighting each other.
  9. agreed. love the look of your studio, Ronan, it looks like it would be really fun to work there, a very inviting vibe. You can't go wrong with loads of rugs!
  10. Does the H2 have have the AKG C414 condenser mic emulation? That was the one that worked best when doing a "room" mic of the drums. I used to use my H4 maybe six feet up and eight feet out in front of the drums(pointed into them) for best effect. I even had an audible panning working for me as I moved around the kit, too. What are ya using for EQing? That can be a real pain, too. Generally I cut the 20 HZ down maybe 6db, and bump up the 6.3khz maybe 6-10db. If the cymbals are still dull, I can bump the 20khz up a bit to taste. once I get the drums balanced it's easy to set them into the mix without stinking it up too bad....

  11. derrico1

    derrico1 Supporting Member

    Apr 12, 2005
    Charlottesville, VA
    To get the drum loop to sit, you want to listen for the problem. Is the loop basically well-mixed, but too bright? (Many drum loops are produced very bright, because it's easier to get good results trimming off well-recorded high end than trying to brighten up a loop with eq.) If that's what you're hearing, use a shelving eq to knock down some of that top end.

    If the loop has too-loud treble elements (an over-loud sizzle snare or hats, typically), rein them in with a multiband compressor on the drum loop.

    If the drums stick out because you're going for a low-fi or swirly production, throw out the textbook and process the loop to better suit the mood of your tune (that might mean running the loop through a overdrive, distortion, and/or reverb). This is a lot easier in a DAW. Keep a clean copy of the loop, and time-align the processed version to match the original. Then mix the clean and processed drums to taste.

    With the bass, again, the solution depends on what you're after. For the traditional electric bass, a DI is a good starting point. For high gain or highly colored tones, either add processing after-the-fact, or dial in your cab tone. A lot of folks will still use the DI as the foundation of even an over-the-top bass tone, and just bring in a cab mic (or plug-in processing) to provide the color. In those cases, the cab mic track often gets a high-pass eq during mixing, to keep it out of the way of the DI track's low end. As with the drum loop processing, you might need to time-align the bass DI and mic tracks if you're blending them to get your tone. Whether that's necessary depends on the amount of delay introduced by the signal chain of the processed version you're running through the cabinet.

    At the end of the day, what you're struggling with now is just a phase of learning your craft with your gear and the processes of tracking/mixing. There's really no magic bullet for learning your way around recording and mixing the low end other than to put in your hours at the console or with your DAW.
  12. JimmyM

    JimmyM Supporting Member

    Apr 11, 2005
    Apopka, FL
    Endorsing: Ampeg Amps, EMG Pickups

    And here I thought you knew everything, dude ;)

    Actually, a 57 is often great on bass. Some may not like the lack of low lows, but it's always been a solid performer for me. Blend it with a DI, you get the low lows back + an edgy mic tone. Probably better for guitar than bass, and I'll be the first to admit there's better, but it's not exactly chopped liver.

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