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Assassin231

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About Assassin231

  • Rank
    Teh Lurk0r
  • Birthday 09/29/1991

Personal Information

  • Location
    In Limbo
  • Interests
    DRUMMING, MAKING TOOOONESS
  • Occupation
    Student
  • Gender
    Male
  • Show Flash Content
    Yes
  • You Tube
    http://www.youtube.com/profile?user=eldadrummer
  1. selling these hi hats dirt cheap (make an offer) Zildjian K/Z Custom 14" Hi Hats - great condition http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=231118396087
  2. reading this makes me realise how working in a studio in the middle of fucking nowhere is taken for granted! I did a report for my acoustics and sound reinforcement module at university - the books I researched were very helpful I will try dig out the name of them for you
  3. you are 100% wrong - I can vouch for plenty of producers who range from no compression to tickling the kick and snare and perhaps dirty the rooms up a bit to full on compression. If the pros know the sound they want, why waste having to route it all out afterward when they could get the sound they are going for on the way in? Outboard is only a pain in the ass for the assistant engineers who have to patch it all in, even then theres nothing quite like watching a rack full of outboard flashing away in time with the drums I am quite reluctant to overly EQ and compress in the way in (usually just notch EQ nothing additive and compression only in the most obvious applications)
  4. It depends on many factors in my opinion - the equipment, the quality of the live space available, the experience of the engineer and reputation of the studio. I would like to think around £350-400 for an average 'high quality' studio with a nice live room and plenty of space for bands to get creative. However, realistically I would say around £250-300 in order to attract more business in general and encourage local clients to use the studio on a more regular basis. Again, from personal experience it is down to two main factors - the way in which the music will be tracked and how tight the band are. If you want a really solid recording and don't want to be editing for a week after tracking then you are looking for a band that are well rehearsed - even then I would allow a good 2 hours minimum for complete setup, patching, testing the lines, soundchecking/phase and getting it sounding very good on the way in. I think 2 tracks would be a push in 10 hours if you wanted a professional result with plenty of takes to choose from and to get the song 'nailed' by the performers and as an engineer. Price is a big motivator - but the motivation for me would really come down to space to set up a few different environments and experient with sounds - if your still writing little overdubs and parts. If you are completely rehearsed and want to get on to it I guess for me it would be down to the live room, the pres/outboard/converters and having loads of little shitty effects to play with. I think theres a very fine line between having what you need for professional results and just being a complete gearslut. If you have a good player behind a nice, tuned kit in a nice live room with decent microphones positioned well, decent pre amplification and good converters then you have everything you need. Personally, I believe you can make fantastic music with very little equipment - Bon Iver is a really good example of the whole low end theory thing - I remember reading his first album was done with just a macbook, an mbox and a 57...
  5. Making a load of these, not sure on the law with selling them with profit (the schematic isn't entirely identical to the original?) - But would anybody want any if I made some?
  6. Well the mix is great - the problem with critiquing a good mix is that you enter a realm of opinion once everything is sitting well, balanced out and complimenting the music!
  7. Yeah nice. And I did mean samples - but nothing too nirvana haha. Have you checked out SPL transient designer? You can drastically change the sound of any drum and give it as much snap as you want - one of the most useful plugins ever for drums - I have worked with a few producers who swear by it and it helps you to craft the drum sounds with the mix without overusing compression/eq. But yeah nice work!
  8. You got a great sound for the equipment used thats for sure! Sounds pretty standard mic setup-wise, with what you have - was the mixing process pretty heavy then? I would personally have tabbed in lots of samples to give it more of an industrial feel - did you do anything cool like that post-tracking?
  9. Nice sound, what was the budget like? What gear you rocking?
  10. hiphop/dubstep/chill/ambient/experimental/glofi/chillstep/chillwave... fuck I don't know! its just some music I make
  11. I will happily give it a listen tonight through the studio speakers and let you know my thoughts!
  12. I would prefer spaced over XY nearly every time because of literally that - space. I find that a well positioned spaced pair provides far superior imagery and captures the essence of the kit that much better. XY gives good imagery and you don't have to worry about phase really. Its all opinion though - thats just what I would use. The technique you are talking about is glyn-johns and yeah that too is a great technique - it all depends on the sound you are going for.
  13. 1. Yes, I usually cut the individual tom hit transients out using tab to transient in protools - and adjust the fades by ear. You can use a gate but I find that it takes a lot of tuning to make sure every hit sounds great (without automation) - and even then you can't beat doing it by ear. If you have the time I would recommend this long winded process to get it bang on. 2. Yeah, thats a bit odd - depending if they have been panned accordingly beforehand to give proper stereo width and good imagery. If they have, then its unfortunate that they are all on one track - but you will just need to get a 8 band EQ up and really carefully notch out all the horrible frequencies and filter off most of the low end. This is a general rule but its far more complicated - its all down to taste and how you need it to sit in the mix. 3. Yep, use a lowpass filter - but it won't really eliminate the fundamentals of the toms much, more so the kick and general boom of the kit - however you can do this after so its always best to leave it flat until your confident enough to know the sound you are going for pre-recording. 4. Again, depending on the sound 8 mics should provide plenty of clarity if the mics are good and are placed well. Make sure the kit is tuned very well and consider a kick tunnel so you can really control the mix of the kit before EQ. I would go for: Kick In - RE20, D12, D112, MD421, 57 Snare ^ - 57... Hats - small diaphragm condensor like a KM84, C451, NT3, NT5 - something with a pretty narrow polar pattern aimed away from the snare. Tom - MD421, 441, 87, 414, 57 Floor - as above OH L - 414, 87, 451, a nice pair of ribbons like 121s, in general a nice pair of condensers will do fine, spaced pair. OH R - as above - remember to check distance from the centre of the snare to each capsule to avoid phasing issues. Mono Room - something like a D112, RE20, maybe a large diagram condenser infront of the kit about 6 foot away (fuck the shit out of it with some compression and blend in with EQ to get a nice rock sound) If you have any more channels try go for another kick mic (outside the kick) - like a subkick or NS10 woofer reversed as a mic - but a large diaphragm condenser on the front head will give it more midrange bite. A mic under the snare - like a 57, 451 or KM84 and if you can - more room mics! Depending on the room - walk around the room with the drummer playing and listen for a sweet spot where you get a good trashy sound of the room reverberation mixed with the direct sound of the kit - a stereo pair of room mics, with heavy compression just sitting with the rest of the drums will make them sound so LIVE.
  14. also personally, MD421 or R121 for studio, SM57 or an E609 live.
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