From the course: Advanced Drum Recording Session with Josh Freese
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Dialing in the overheads, hi-hats, and cymbals
From the course: Advanced Drum Recording Session with Josh Freese
Dialing in the overheads, hi-hats, and cymbals
- Once I get ballpark kick and snare sounds, I gotta make sure they can relate to each other very well, that they sound like they're being played at the same time. So, when you put the overheads up, it helps to glue them together. So, we have to make sure that the kick and snare are well-represented in the overheads. Not necessarily equal, I'm not worried about that so much. But they have to sound good in the overheads, so that they work well with the corresponding close mics. (drum beats) - Alright. Hang on one second there, boss. So we got, feelin' pretty good about my close kick and snare sounds, not stoked on the overheads, how they're responding with the kickdrum right now, so we're gonna move those C-12s around, And see what we can do. They have to work together, and not have any kind of phase cancellation, or create a boxy sound. So I just raised them like an inch and a half, and we'll see, hopefully that'll help us out. Can I hear the kickdrum, please, Ross? (kickdrum beats)…
Contents
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Getting a great kick drum sound8m 47s
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Getting a solid snare to create the character of the track6m 52s
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Approaches to EQing the kick and snare2m 50s
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Dialing in the overheads, hi-hats, and cymbals8m 53s
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Experimenting with room sounds5m 59s
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Getting rack tom and floor tom sounds6m 14s
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Getting creative with the stunt mics6m 29s
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