Despite the fact that the drummer plays the whole package like a single instrument, the miking of person drums and cymbals could make for any very complicated mix scenario. The main reason I reference country and rock music particularly has related to the truth that during these genres the sounds of the baby drums and cymbals are not only seen designated by individual microphones put on all of them but additionally their sounds are exaggerated to produce a much more dramatic effect.
Consider, for instance, the tom fills in Phil Collins' "In Mid-air Tonight." By comparison, jazz drums are frequently treated like a more natural, unified seem and it is quite normal to utilize a simple set of overhead mics to capture the seem from the entire jazz drum package.
In the following paragraphs, I am likely to go drum by drum supplying EQ and compression configurations which will, hopefully, supply you with a jumping off indicate getting great drum sounds inside your mix. Due to its all-in-one mixing board funnel approach, I'm going to be using Metric Halo's Funnel Strip plug-along with its EQ, compression and noise-gate as one example of my comments about various EQ and compression configurations.
Kick Drum
Because the heartbeat from the contemporary drum package, the kick drum seem we have grown familiar with hearing is both boomy and round at the base and it has a pleasant, vibrant click within the high mid-range. It is the balanced exercise between EQ and compression that provides the kick drum being able to stick out inside a mix. Starting with EQ, the easiest method to accentuate the lows and levels would be to remove some low-mids. I am a large believer in cutting instead of improving EQ to attain a preferred effect. Consequently, I am inclined to pull approximately 2 to 4db at between 350hz-450hz. Then, after getting rid of a number of this low-mid dirt in the seem, I'm able to boost the clicking seem from the beater striking the mind from the kick drum by improving around 2db within the 2k-3k range. I am supplying approximate dB and frequency range configurations because with respect to the kick drum, mic positioning and, obviously the drummer, many of these configurations will be different. Begin using these general ranges like a jumping off point after which believe in ears.
So far as compression configurations go, the secret would be to preserve the transient attack from the kick drum having a fast although not too quickly attack time (9ms in cases like this) along with quick release (11ms) therefore the compressor is able to respond to another kick drum hit. The ratio I personally use is really a relatively mild 2.5:1 and that i adjust the brink until I hear the kick seem I am trying to find. Finally, to be able to provide the kick drum seem some separation in the relaxation from the package, I personally use a noise gate and adjust the brink to permit the kick seem in the future through while basically muting a lot of the other drum/cymbal sounds. Also, while setting the attack towards the Funnel Strip's quickest "auto" setting, I permit a lengthy (400ms) release.
Sub Kick
This specific miking trick is a you can use to create great low-finish presence towards the kick drum. By means of explanation, a brief stand holding basically the woofer of the speaker is positioned while watching kick drum and accumulates mainly the reduced wavelengths. When combined using the kick drum mic, the sub-kick creates great energy within the cheapest area of the frequency.
To be able to accentuate the most crucial aspects of the sub kick's seem, I am inclined to make use of a low pass filter method of my EQ that removes all wavelengths above 500hz and drops off much more significantly below 100hz. This really is to make certain that just the fundamental areas of the sub kick's seem come through. The sub kick ought to be felt more than heard. When it comes to compression, a ratio of roughly 5:1, a comparatively slow attack (120ms) and medium fast release (57ms) permit the sub kick's tone to remain present and full beneath the seem from the kick drum's regular miked seem. Then, I'll make use of a noise gate having a fast attack (20ms) and reduced release (200ms) to help keep out every other package sounds that may otherwise bleed in to the sub kick seem.
Snare
Together with the kick drum, the snare drum is important for driving a rhythm track. Poor EQ and compression techniques can let it rest sounding thin, dull and usually uninspired. To be able to accentuate the very best areas of the snare seem with EQ, I'll raise the low finish from the snare by 2-3dB around 80hz, cut 2-3dB between 350-450hz after which boost again, if required, for additional high-finish brightness, by 1-2dB at 5k. These 3 EQ points are a good starting point to shape a fascinating snare seem.
Compression on the snare is indeed a balanced exercise where an excessive amount of will get rid of the energy from the performance and not enough can make it difficult to locate a suitable level for that snare within the mix. I personally use a ratio of two.5:1 having a extremely swift attack (2ms) and release (11ms). If you are discovering that you are losing the snap from the snare, slow your compressor's attack just a little but don't forget that slowing down the attack an excessive amount of will require the compressor too lengthy to seize to the seem and can leave the snare a smaller amount workable within the mix.
Adjust the brink configurations until things seem to your ear. This essentially enables you in deciding just how much overall compression you will be using. Don't go crazy or even the drum will forfeit its energy try not to go too gently or even the snare will not fully stand up within the mix. Gating the snare is really a learning from mistakes process too. Based on if the snare approach within the song is aggressive or soft have a lot related to your threshold configurations. Like around the kick drum, I personally use the fast "auto" attack along with a reduced release around the gate so that they can repel the ambient sounds from the cymbals, toms and kick.
Hi-Hat
While clearly a cymbal, the hi-hat is frequently used more like a rhythmic element than the usual tone color like a few of the other cymbals inside a drum package. Ensuring it features its own sonic space and talks clearly without having to be too noisy and annoying is exactly what EQ and compression are about in cases like this. For EQ, I'll again make use of a shelving approach around 200hz which will effectively obvious out low-finish information that's non-necessary to the hi-hat seem. If I am thinking about getting in a little more high-finish shimmer and sizzle, I'll boost between 1-3dB between 6k and 8k again using my ears to inform me what's working. Generally, I tend to steer clear of compression around the hi-hat because it has a tendency to find is own dynamic range without an excessive amount of additional help.
Low (Floor) Tom
A properly-mixed group of toms could make a big difference between drum fills which are exciting and individuals which go by without catching the listener's ear. Beginning using the low tom, I am inclined to search for the places within the frequency range that enhance both boom and also the snap (like the way I approach the kick). To be able to accentuate the reduced quality of the drum, I have discovered that an impressive cut (12dB) around 500hz enables the drum to talk clearly. Also, to include our prime-finish snap, a semi-aggressive boost which is between 4-6dB around 3k will have the desired effect. Compression also adds a great deal to this equation. A ratio close to 4.5:1, a reduced attack of 120ms and medium slow discharge of around 90ms can help the seem remain full and resonant. For that threshold, I merely adjust before the tom rings correctly. Gating is yet another major factor for toms because the large diaphragm mics put on these drums tend to get many of the extraneous sounds in the relaxation from the package.
I set the gate using the fastest "auto" attack along with a slow 400ms release after which adjust the brink until I am hearing just the low tom come through when it is hit. For that "tweak heads" in our midst there is a a little more accurate and labor-intensive method of doing this. By entering the particular seem files inside your DAW and removing basically the tom hits themselves, you may create a wonderfully gated tom track.
High (Rack) Tom
Such as the low tom, our prime tom has it's own wavelengths that needs to be cut/emphasized to create the best areas of the seem. For EQ, I'll do another large cut close to 10dB at 600hz and I'll create a similarly large boost close to 7dB at roughly 2k. For compression, I personally use a rather more aggressive 6:1 ratio reduced attack (100ms) along with a quick release (25ms). Just like the reduced tom, I'll gate our prime tom while using identical gate attack (quickest "auto") and release (400ms). The important thing towards the threshold would be to adjust it until just the high tom punches through keeping the funnel basically moderate for that relaxation of times. Your final note around the toms, as all tom dimensions, tunings as well as drummers will vary, you will need to have fun with these configurations before you discover the sweet spots.
Expenses / Room Mics
Considering that we have designed a real effort to isolate and enhance each one of the individual drums within the package, overhead mics serve the twin reason for taking the cymbals and integrating the combined seem from the package into the seem from the drums. I give consideration to 3 specific EQ points to be able to provide the overhead mics a clear, balanced tone. First I'll make use of a high pass filter (shelving EQ) in the really low frequency of 40hz to wash up any unnecessary sub-sonic rumbling. Then I'll pull around 5dB at between 100 and 200hz to avoid any low-mid buildup. Finally, if required, I'll boost the overall brightness from the cymbals/package having a small 1-2dB boost around 5k. For compression, I'll set the ratio at approximately 3:1, the attack around 110ms and also the release in a slightly faster 70ms. The brink ought to be modified to make certain the overhead/room seem blends using the overall package mix. Finally, adjust the level of the overhead mics within the mix before you get sufficient from the room to place some air and depth into the package.
Restricting the Sub Mix
Your final trick to include punch towards the overall drum package would be to send all the individual tracks to some stereo system sub mix and put a limiter such as the Waves L1 with that stereo system auxiliary track. By modifying the brink before the attenuation is between 5-7dB, you will find that the package includes a really satisfying overall punch and presence.
Conclusion
While I have been shateringly specific about EQ, compression and gate configurations, you need to keep in mind that every mix situation differs. Use many of these configurations like a jumping off point after which make use of your ears to tweak the sounds until you are happy. Best of luck!
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You've got your amps, you've been practising in a garage or small rehearsal room and things sound pretty tight. Now you've got a chance to play down at the local pub/bar. How difficult could that be? Well, if you feel that all you have to do is set up and play just as you've been practising then there is a 99% chance of disaster. Many bands sound awful at their first gigs because their PA isn't sorted; they find themselves playing out of time and out of tune.
Why? It's monitoring - or to be precise a lack of it! Your singer will only be able to sing in tune if he can hear what he is singing. Your guitarists will only bend notes accurately if they can hear their own guitars. Bass and drums will only lock in if they can hear each other, and each of you will only know where you are in a song if you can hear the rest of the band. It's wholly different to the confines of the garage or practice space and this can really throw you all. You will be struggling to hear the overall sound and may even have trouble in properly hearing your part of it. No matter how good you all are as musicians, no matter how much you've practised, without good monitoring you will end up out of time, out of tune and wishing you'd stayed at home. When the on-stage sound is wrong, amplifying it will just tell the audience how wrong it is.
For bands of three to six people with electric guitars and bass, a drummer, a singer and possibly a keyboard, playing in small venues to audiences of less than 200 (a typical start up scenario) your amplification needs are threefold:
1) Back line - this includes your guitar and bass amps, your drummer
2) Monitors - these are on-stage speakers relaying "fold-back" - your own sound
3) PA - the front of house sound which the audience hears
Notice that 1) and 2) create your on-stage sound whilst 3) delivers the on-stage sound to the front of house. Lets take them one at a time:
Backline
You will need 30 to 50watts RMS for your guitar to match the drums. The bass will need 50 to100 watts. If you are using keyboards they will need 100 watts as a back-line instrument but if you choose to put the keyboards directly through the PA to the front of house, bear in mind that without a mixer they will be a distraction for the vocalist. Those pieces of kit which do not have a volume control - the drummer and the singer - now need to be considered. The vocals will definitely need a system that delivers over guitars, bass and drums to a room full of noise absorbing people (and audiences absorb the higher frequencies more efficiently than the lower ones), so PA's are first and foremost the province of the vocalist, but also for keyboards and, if you chose to microphone them, the drums.
Monitors
You need stage monitors so the singer can hear themselves and the rest of the band can hear the singer. A monitor is a speaker, often quite small and wedge shaped, which can be pointed at the singer without hiding him and generally raised at the front edge by a stand (or propped up by an old brick) to project better. Add more monitors so the rest of the band can hear the singer and position one of these next to the drummer. You'll need a separate power amplifier to drive the monitors although it needn't be as powerful as a PA power amp, and if you have extra acoustic instruments you will need to put these through the monitors too. Look for monitors of 100W, you can get active ones with built in amps or go for a monitor amp with separate speakers. Understand, too, that your guitar and bass amps are, on-stage, monitors. You need to set these so that you can hear yourself and the other band members, and that they can hear you as well as themselves. This is the trickiest part and when sound wars break out on stage, often a competition over being loudest, it's the audience that suffers. Don't make the mistake of turning up your amps to impress the audience as you will just be unbalancing the band's sound. In very small venues and for mainly acoustic bands, the monitors can be angled to spill sound to the audience.
You now have control and balance issues to consider. Decision one: either you balance the back line to the drummer or you microphone the drums and balance through the PA. There are compromises possible when playing small venues where it may be effective to simply microphone the kick drum.
PA
To the singer, the PA is what an amplifier is to a guitarist, but it's much more besides. What goes to the PA goes through a mixer. These days a mixing desk capable of handling the whole band can be picked up for the price of a low mid-range guitar. Given that many venues, even smaller ones, now have their own PA systems, including a mixing desk, you will need to come to terms with these either way. At the basic level if you only have vocals going through the PA you will only need 100W per channel and a couple of full range speakers with stands. The speakers will have a ten, twelve or fifteen inch bass speaker and a horn to handle the high notes. You'll need to raise the horns above the audience or the people at the front will absorb all of the treble and the rest of the room will get mush. This is why most PA systems feature stands, so use them! Make sure the cabinets are well to the front of the vocalist or your back-line sound could overpower the vocal mike and set up a howling feedback loop. If you've got your on-stage sound right then you won't get this problem from the back-line but if you do then you now know the answer. Turn down the back-line!
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NOTE: Other supported audio applications may have higher minimum system requirements.
Fast Track C600 interface
