Very cool - I'll definitely be doing some further listening to the differences between drum setups on my primary monitoring setup. Especially once my ear infection heals... Take it as a great sign that your tracks translated exceptionally well on not only a goofy monitoring setup, but through the lens of an ear infection as well. Even though everything seemed panned left of center, it still sounded great!MoreSpaceEcho wrote:the drums....it's all just compressed room mics. tracks 2 and 5 were done out in my living room, which is big. the room mics are probably about 80% of the drum sound. just enough kick and overhead in there for definition and attack.
drums on 3 and 4 were done in the mastering studio, just kick and overhead. there might be a teeny tiny bit of fake reverb on #4, i don't remember. if there is it's barely audible. i think there's a little 1/8 note delay on that one too, again barely audible.
the drums on the first song were the only ones from the original recordings i did back in 2001. i only had a stereo mix to work with and it was ALL HIHAT. if i wrote out all the ridiculous bullshit i had to do just to make it sound like a reasonable representation of a dude playing drums in a room....you'd all fall asleep before i got to the end.
Actually, I'd be very interested to hear how you handled the hihats. In the past, I've had a tendency to mix on the slightly darker side, and upon getting tunes back from mastering would quickly identify which elements stuck out a little too much after the high frequencies of the entire mix were pushed. I'd most often find myself getting a little more drastic with the de-esser settings on the overheads and sometimes vocals in order to smooth out a second draft. Other than de-essing overheads or an unruly drum bus, I'm curious to know other black magic voodoo spells for dealing with prominent hi-please-get-the-hell-out-of-my-otherwise-beautiful-drum-sound-hats.