Can someone recommend a 2 or 4 ch. gate for toms?
Can someone recommend a 2 or 4 ch. gate for toms?
Is it common to put a gate on toms? Thinking it could be helpful for a rock drummer with a light hand on the toms. He hits the kick, snare, and cymbals well. When it comes time for the toms he just does not hit them hard enough. BTW I use the sennheiser 604's into a mackie pre then to a TSR-8.
My logic is: when turning up the mics to compensate, I am increasing the cymbals more than I would like. Am I overthinking this and looking to buy unecessary gear?
I do not use a computer & I am not a pro. Recording is a hobby for me. So top of the line is out of the question, however I don't necessarily want cheap either.
My logic is: when turning up the mics to compensate, I am increasing the cymbals more than I would like. Am I overthinking this and looking to buy unecessary gear?
I do not use a computer & I am not a pro. Recording is a hobby for me. So top of the line is out of the question, however I don't necessarily want cheap either.
it's not going to help really. if you use a gate, the transients will suffer. either ride them in or just use better mic placement to get a better stereo mix of the drums. a good pair of OH, room mics will be good for that: especially ribbons.
even close mic'd dynamics will bleed the rest of the kit in.
rich
even close mic'd dynamics will bleed the rest of the kit in.
rich
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well, as long as you have a decently wide enough pan, you can simulate the tom rolls.BobbyRay wrote:I record the toms on the same track as the o/h's so riding them is not an option. So I do have o/h's they are not ribbons however.
so why are you looking at a gate if your not mic'ing every tom?
rich
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If I'm combining toms to a pair of tracks (in a multi-tom setup) or with the overheads, that's WHEN I'll gate them to tape. Otherwise, I leave it until mix. I've also recorded all the drums to separate tracks and then bounced the toms and sometimes the overheads afterwards, at which point, I'll gate.
I'm not sure if there's a better analog expander/gate than the Aphex 612 and 622. Pretty perfect for toms.
Chris Garges
Charlotte, NC
I'm not sure if there's a better analog expander/gate than the Aphex 612 and 622. Pretty perfect for toms.
Chris Garges
Charlotte, NC
do you submix before you hit the 8 track? you could gate via the inserts of a console that way and treat the busses as stems to the recorder.BobbyRay wrote:I bus/combine the toms along with the o/h's to one track. The TSR-8 has 8 tracks, so I'm limited in that department. If I had a track for each tom this would not be an issue, I would just edit out everything except the tom hits. I have real simple old school setup.
honestly i could see 7 tracks with that.
snare top
snare bottom
kick
tom l
tom r
oh l
oh r
1 track left for click and scratch.
back when i had 8 tracks to work with, i had a behringer mx3282a which had 24 channels and 8 busses. i would just group to busses and record each buss to a track.
rich
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How con you talk about gates and not mention Drawmer? Have you tried doing a stereo mix of your overheads, toms, and snare with a separate kick track? For me that yields a much larger drum sound when limited to 8 tracks. I feel better off this way cause you are going to get snare in your overheads anyway and now the drums are in stereo.
Yes, I will try stereo.
Have been scared to go with stereo, yes scared to go that route. Having control over just snare alone has always beeen important to me. Parallel compression seems to happen on all the rock related music I do. With having the snare and O/h's on the same track that would give me some problems in that respect.
Have been scared to go with stereo, yes scared to go that route. Having control over just snare alone has always beeen important to me. Parallel compression seems to happen on all the rock related music I do. With having the snare and O/h's on the same track that would give me some problems in that respect.
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