there's just something about drum recordings that have no samples added because they always end up to be the samples a lot of people are going to use lol.
@@KohleAudioKult I think it depends on what you mean with punch and low. Words often has different meanings for each person. The low end to me is air being pushed down by the batter head that pushes down on the bottom head and moves the air below...so its actually most prominent 2-3" below the bottom head (test it with snare wires off and just the snare drum in action) BUT! there is also a LOT of snare wires and bleed from the kick an so forth, so its easier to get the low end from the batter head 🙂. Cause you also want the snare wires, and if you try to eq low end in the same mic that records the wires .. wow.. thats a whole bunch of issues. but but but . as you said: whatever works!! And its also different from snare to snare. Dimensions also affect it greatly. Man.. thats a whole video or two to make ;-) yep.. im a snare drum geek.. so much I even mostly play those I make myself. Im sure Im the only one that can hear it though LOL btw I use: v7x, sm57, audix i5, SubZero SZM-10 and Slate ML-2 .. in any combination.. depending on the song and snare. PS: Snare Buzz now looks a bit different. Its from WavesFactory ans is still free Thanks for another great video!
@HR2635 Most drummers and engineers (whoever is tuning the drums) crank the tuning high on the bottom snare head very high, so it's not going to have much natural low end. But like most things in music, there are no hard rules. Whatever works for you.
I will use two guitar picks at once. Fast riffing... and will check wich is better. If it does not work, clue them toghether to have a stereo setup. Crazy. If it all does not work... I drink two beers at one time. ;)
I've done that with a Slate ML-2. Since you can use different mic "profiles" on it at once you can do separate processing without having to deal with phase. I always go with a small diaphragm condenser and either a 57 or an SM7b model. Fun stuff.
Interestingly, I have seen this done in a Nashville studio circa 15 years ago. They already knew the spacing between the mics they needed to get the phase correct, measured, and taped them together so they could use 1 mic stand and then blend the sound on the console for what the mix needed.
I do similar things sometimes when using a 57 on snare, strapping a pencil condenser to the side of it really helps add some extra vibes and overtones that 57s tend to lack on their own. Though it's not usually something I reach for when using a non-57 dynamic mic, so maybe I need to start experimenting more.
@KohleAudioKult Sounds fantastisch bruder 😎 I've been really into using two top mics on my snares, especially my Bell Bronze Snares (Golden Age Project F4 for crisp bright snap/attack, with a Stagg SDM70 '57 clone, running into a 1073 stype Pre, and a Se V7 on the side of the snare shell, with an Aston Starlight on snare reso, and mix all 4 stems together 🙃🙂 \m/ www.youtube.com/@DanMayhewDrummer
@TOTO-nr8vu you mean the phase between the two close mics? Make sure that they have the same distance to the batter head. You can fine-tune it later by moving one track in the DAW later.
Dope and natural snare sound. One question tho, why don't you gate the snare better and get rid of the cymbals completely and then boost loads of 8khz? Would of probably gotten the job done way faster :D
Thanks! 🤘 You wanna get rid of the cymbal bleed first before you EQ the snare. Otherwise you just boost the terrible sounding off-axis cymbals captured by the snare mic instead of making the snare brighter.
@@KohleAudioKult yeah I know that. What I meant is that after gating you still had some amount of cymbal bleed. If you gated harder you would of been able to boost loads of 8khz with EQ after the gate obviously.
I don't know if you have heard of the Lewitt 640 REX but is aimed at kick drum. It has two elements, One is dynamic and the other is condenser and in perfect phase obviously. This seams like a good use case for that mic.
Hi Kohle, Ich bin ein absoluter Amateur, Versuche aber unsere Band zu mixen. In meinen Room-Mics ist die KickDrum mit einem „Klick“ sehr präsent. Bei Dir nicht. Was meinst Du im Video mit „Kick-Pad“? Ist die Kick ein sample? Anfangs meintest Du ja, dass keine Samples verwendet wurden. Danke Dir :)
Keine Samples bei der Snare. Die Kick hingegen war einfach ein Midipad, also keine akustische Kick. Idee: Pack doch mal ein paar Gobos zwischen die Drums und deine Room Mics!
Ach nur bei der Snare. Das hatte ich falsch verstanden. Danke! Das mit den Gobos hatte ich mir auch nach Deinem Video überlegt. Mein "Wissen" habe ich mir aktuell durch RU-vid-Videos angeeignet. Das Einzige, was für mich aktuell noch überarbeitungswürdig ist, sind meine Tom-Sounds. Hier habe ich brutalen Bleed von den Cymbals. Mikros sind die DTP 340 TT von Lewitt. Gibt es von Dir ein Video (kostenpflichtig oder nicht ist erstmal egal), welches die Grundlagen der Drum-Mikrofonierung mit Zielgruppe "Amateur" ausgiebig behandelt? Bin eigentlich Gitarrist, mir macht das Ausprobieren mit Mikros und Sounds aber wahnsinnigen Spaß!
Crazy how a little FX like this can make a pretty noticeable difference. Kinda like the sub trick for kick drums (heavily gated sub frequency sine wave rigged to go off with each kick). Will need try SnareBuzz out!
Inside the snare changed Everything for me. I tried one of those May internal mic setups w/ the included SM57 & I went from having a condenser & dynamic on top with triggers to gate & a mic on the bottom to only needing the inside mic 99% of the time.
Internal mic? Wow! I just know that from some of the vintage Sonor drum kits, but those didn’t sound great. So how does the inside mic sound compared to a standard batter head mic?
@@KohleAudioKult Yeah buddy. Been doing it since 97-ish reading the Modern Drummer with Vinnie on how they recorded Far Beyond Driven. lol I ended up getting them after playing a show where the venue didn't have a enough mics for my whole set as a just in case in the future. Yeah they usually sound bad. I hated the sound & didn't even use them for a few years until 1 show they sounded great & the sound dude said the mentality is to scoop frequencies more than boost (and in that particular show he said it didn't need compression). I basically just incorporate internals with everything you & the others do & show & most of the time I can live with the sounds I get just from the internals since I'm no longer trying to do music for a living.
I almost always use a Slate ML-2 on the batter side alongside a 57 or v7x or some other dynamic. ML-2 I can then clone and use different emulations.. and have tons of options. Zero phase issues. Love it.
i learned this one from ol Jakob Herman when he came to MI to do a clinic on drum recording. he used 2 57's top and bottom then a beta 87 for the second top mic. Cool Dude just like a particular German Fella 😏
Nice! Been doing something similar by adding a condenser as second top mic. I do hear a sizzle in the top end of the top mics that started to annoy me after a little while...
Do you know if the current version of the Snare Buzz Plugin still works the same way? At least the GUI has changed dramatically (drummatically?). I'm definitely gonna give it a try (download in progress), but the very (very!) different look of the plugin made me wonder...
Damn. It really looks like the current Snare Buzz does not only look completely different, it also has a totally different purpose. Sorry for that! Looks like I didn’t do my homework here.
As a drummer and a recording mixing engineer I must say this was a great video. If you can do 2 top mics when you record, I highly recommend it. As you can see the results are amazing. You could use the two mics as a tool to make the same snare sound snappy and short but with some body. Big, with sustain and less attack. Might I suggest to any one who likes to experiment with plugins and needs to remove the BLEED, to give Black Salt Audio's "silencer" a drive. I do not work for, or get endorsed by Jordan and BAS. I have just been a fan of his channel for a very long time. I use it because I mix a lot of Live material. It kills the bleed instantly in most cases. There are other drum silencing tools out there but I have only tried this one outside of the "Nolly" type tricks that are on YT. It speeds up the process and cuts a few steps out of the equation. I would love to see a collaboration video with you and Jordan from Hard Core Studio! Long time Viewer, and Fan of the Kult as well! Prost!
Not sure if you did it deliberately or not but DF-Xcite has different modes depending on what source you have it on. You had it on the metal kick setting in the video 😂 I love using DF-Xcite on rooms! I’ll usually add high mids and maybe even low mids depending on the source and sometimes I’ll even turn off the low end and high end buttons which kind of sounds like they’re being filtered? You should try it out!
The different presets just change the crossover frequencies between the bands. I usually try a few of them totally ignoring what Drumforge intended. The IZotope exciter is actually better here because you can change the crossovers yourself.
Sounds awesome!! I love it when you can get a great snare sound without samples!! The V7x is awesome, I use it, and I also love the Beyerdynamic tg i51. It’s got a great snap to it!! 🤘🏻🤘🏻
