| Author |
 Topic  |
|
|
Sharklaar
Advanced Contributer
United Kingdom
1884 Posts |
 Posted - 09/08/2012 : 21:14:52
|
We made our first ever attempt at DIY recording yesterday, and we've ended up with massive amounts of hi-hat in the snare track.
Obviously the solution is "next time, move mics, snare, hi-hats" etc, however we're not going to get a chance to do any more drum recording for a few weeks.
Any decent techniques for removing the hi-hat bleed post-recording? We're using Reaper for the mixing. |
http://www.blackhawkdown.org.uk |
|
|
Captain Bubble
Advanced Contributer
United Kingdom
14790 Posts |
Posted - 09/08/2012 : 21:20:47
|
| I think this can be done in pro studios, but I think you will just have to do the best you can with some clever EQ |
Marcus de Mowbray
www.330studios.co.uk/marcus |
 |
|
|
TrevCircleStudios
Advanced Contributer
United Kingdom
349 Posts |
Posted - 09/08/2012 : 22:13:32
|
| even in pro-studios it aint easy. All comes back to my sig: you cant polish a turd. Track it right and it mixes itself. |
You can't polish a turd!
www.circlestudios.co.uk |
|
|
|
jimfisher
Advanced Contributer
United Kingdom
572 Posts |
Posted - 09/08/2012 : 22:18:19
|
Beat Detective? You could isolate a decent snare sample from your track, then generate a MIDI track from your snare track, and then trigger your own sample with it.
Track, JF |
www.sphere3.co.uk |
|
|
|
Sharklaar
Advanced Contributer
United Kingdom
1884 Posts |
Posted - 09/08/2012 : 22:37:53
|
Just seen an interesting idea on another forum:
"One thing I've done in the past is to gate the snare super tight, so it opens for just a burst of a few milliseconds. Send this through a longish reverb, with some highs boosted. Add this to your snare track, which has most of the highs pulled, enough to tame the hat. This gives the illusion of a snare with highs, even though the highs you're hearing are just the reverb from that short burst." |
http://www.blackhawkdown.org.uk |
|
|
|
Captain Bubble
Advanced Contributer
United Kingdom
14790 Posts |
Posted - 10/08/2012 : 09:04:41
|
Yup, gating is a useful device for improving. I don't know if I have it on my Cubase or if you have it on Reaper.
I had a similar problem with the foot pedal woodblock being a bit too loud on one track. It was a single Pressure Zone Mic recording, with just Cajon and its built-in bass drum, and the wood block. I removed a few treble frequencies which made the wood block sink right down in the mix. It also made the Cajon/Bass Drum rather deep and "earthy" sounding, which actually suited the track very nicely. If it had not been "polishable" by EQ I would have flushed the "turd" track and re-recorded it.
With EQ and even with gating you risk compromising your snare sound, but if you get something which suits the song then go for it, but first do ask yourself if it would perhaps be quicker to re-record! |
Marcus de Mowbray
www.330studios.co.uk/marcus |
|
|
|
Sharklaar
Advanced Contributer
United Kingdom
1884 Posts |
Posted - 10/08/2012 : 09:51:44
|
We will definitely be re-recording - we've recorded a number of takes of each instrument and vocals so far, but this is purely a test run, to see how the technology we're using works. The idea is to play about with what we've got so that when we re-do everything it will be quicker and higher quality.
Bass player is doing all of the mixing at the moment, he's just sent through the first version with drums included. I can't listen cause I'm at work but I'll see if it's fit for public consumption and maybe post it up this evening... |
http://www.blackhawkdown.org.uk |
|
|
|
dogface
Advanced Contributer
United Kingdom
927 Posts |
Posted - 10/08/2012 : 10:57:21
|
Some people are obsessively anti-spill and others don't mind. There are two potential problems. Firstly, if you want to edit things the spill makes it difficult; and secondly, the mixed sound might not be as good as the individidual sounds. However, if you don't intend to do excessive editing the first problem isn't a problem. Getting the sound right is a question of moving the mics around, trying different mics and possibly experimenting with flipped phase until the spill actually sounds good.
But you need to ask yourself why you consider the spill to be a problem in the first place. |
|
|
|
Sharklaar
Advanced Contributer
United Kingdom
1884 Posts |
Posted - 10/08/2012 : 11:13:59
|
The spill is a problem because the hi-hat is so loud in the snare track that it's kinda overpowering. Next time we record we can fix it with mic placement etc, at the moment though we're just experimenting with EQ and stuff, to get used to mixing the drums more than anything. Like I say, it's a first attempt  |
http://www.blackhawkdown.org.uk |
|
|
|
dogface
Advanced Contributer
United Kingdom
927 Posts |
Posted - 10/08/2012 : 12:16:01
|
| You could try copying the hi-hat track, inverting the phase and adding it to the snare track. It might just sound rubbish though. |
|
|
|
Sharklaar
Advanced Contributer
United Kingdom
1884 Posts |
Posted - 10/08/2012 : 13:22:18
|
quote:
Originally posted by dogface
You could try copying the hi-hat track, inverting the phase and adding it to the snare track. It might just sound rubbish though.
It might sound rubbish, however it could be a stroke of genius... |
http://www.blackhawkdown.org.uk |
|
|
|
Bewdy
Advanced Contributer
United Kingdom
842 Posts |
Posted - 17/08/2012 : 14:07:15
|
I don't now how adept you are at mixing etc.. but some basic gates only give you a threshold to play with, but you can filter your gate signals so that your gates only work on specific frequencies. This is the way to tailor them to isolate certain sounds. So you basically monitor the key snare frequency, i.e the most prominent one which is in the snare frequency range, then use that as your trigger signal for the gate. Likewise with the hi hat. You can get your gates to work on very narrow frequency bands so that they only open on the sounds you want.
If this still isn't giving you the separation you want you, you can cut these signals right down to short impulses using the gates and use them to trigger midi drums/signals. There is some free software plug ins for doing this and I did it with the last recording I mixed as the bass drum was too weedy. it really made a huge difference to the track. |
LEARN TO DRUM ON THE iPHONE www.mapexdrummasterclass.com
WORK: www.virtual-engineering.co.uk PLAY: http://soundcloud.com/voodoo-cartel |
|
|
|
rockdrummerzero
Advanced Contributer
United Kingdom
2023 Posts |
Posted - 18/08/2012 : 10:14:23
|
A gate is the way to go, Cubase has a specific 'Snare gate' which I use quite a bit.
Whilst on the subject of isolation, sometimes you need to be careful not to be to anal about isolation/bleed from the various 'close' mics on a kit. Many people used to using Midi/Drum machines are convinced that ANY bleed is bad, it is not, and it is normal - have a listen to many classic multitracks of available on the web ( Queen multitrack stems are great learning tools ) there is a certain amount of bleed in each mic, but it is complimentary 'good bleed'!
TrevCircles is probably the chap to listen to on this subject, I am still learning... |
www.thespell.co.uk
http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=18275505 |
|
|
| |
Topic |
|
All Forums
Removing hi-hat bleed from snare, post-recording
New Topic
Printer Friendly