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Preliminary drum whatnots. 
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Simethicone
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Post Preliminary drum whatnots.
https://www.dropbox.com/s/zat4eckpvxqmip7/Extinguisher_drum_test.mp3?dl=0

Cam has heard this. This was the shortest of the things that recieved realdrumming, so it was the first worked on. Also, bombastic and uptempo. No change arrangement-wise from the ancient version sitting on the shelf for a few years whilst I did other things with my life. Mostly one take. A few fills dropped in from other takes. A little mixing here; EQ, expander, and compression on kick & snare, expander & compression on the room.* Highpass on the hats. Bleed from toms & hats left in for now.

Kit, as per the pictures in the main forum, is a nice Premier something-or-other with an old Ludwig Acrolite snare. Cymbals are Zildjian As and A Customs, save for the Sabian AAX Fast Hats. (Quoth the drummer: "the slow hats didn't sell very well" :lol: )

All mics except the snare went through my Yamaha console; snare went through a pair of Warm TB12s, driven into the red.

Mics are thusly:
Kick in- SM7B, out Oktava 319 (modded) a few feet back, DIY subkick.
Snare- SM57 with an AKG 451 gaffer-taped to it.
Toms- AKG 414, Sennheiser 421 x2
OHs- Rode NT5s in ORTF
Hats- AKG C1000
Room- Blue Baby Bottle

*if you're wondering why I'd expand and then compress, I prefer expanders to gates on drums. More natural sounding decay. Compression afterward... usually.

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Tue Jun 28, 2016 4:18 am
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Pendulous
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Post Re: Preliminary drum whatnots.
I like the smack you've got on the snare. I really should try the SDC taped to a 57 trick sometime!

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Mon Jul 11, 2016 7:43 pm
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Simethicone
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Post Re: Preliminary drum whatnots.
It is worth your time. :tu: Adds a lot of punch to the snare.

The subkick is also worth your time if you're not replacing your kicks. I made mine out of random junk- a busted XLR cable, an old computer subwoofer, and a shitty mic clip that didn't fit any of my mics. A few minutes with wire cutters, a soldering iron, and a screwdriver, and I have a useful recording tool. The output is hella hot though. We padded it down 30dB with an external pad. :hypno:

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Mon Jul 18, 2016 6:56 pm
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Magnitogorsk
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Post Re: Preliminary drum whatnots.
I'd like to hear how this sounds with the rest of the bits onnit.

Sounds like nice solid punchy power drums though. I like the cymbal mix as well; sounds like pro levels of nice on those. :isay:

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Mon Jul 18, 2016 10:47 pm
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Simethicone
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Post Re: Preliminary drum whatnots.
https://www.dropbox.com/s/1wodwzyqlq8m67r/Drum_hardware_test_full_7_22.mp3?dl=0

Mind the gaps, I suppose. There's some drum machine stuff in between, normally. Here, silence/low-level noise. Still, it'll serve for now.

Copypasta, slightly edited, from an email containing the above:

Everything here went through a Warm TB12. Everything but the OHs went through the White EQ. Everything but the hats went through a compressor of some sort. Just seeing what I can make the whole lot do, really, in terms of basic drum sounds.

Kick: Symetrix 501 + WA76, each doing about 2-3 dB of gain reduction, The former at around 3:1, the latter at around 4:1. All tracks summed pre-compression. A lone plugin, a Softube Valley People Dynamite emulation, as an expander after the fact. A gate is too choppy sounding on this, IMO. (Though this does make me want to find a decent hardware gate. If it says Drawmer, Valley People, or Aphex on it, it's probably good, and will do expansion.) In actual use, I'll probably treat the outside kick separately as it's picking up a ton of snare bottom and other goodies. Stacking the two comps was interesting, though I might use the 501 on its own, depending on context. It has a ton of VCA slap and plenty of low end, while the WA76, being an 1176 in all but half a name, is pretty bright.

Snare: WA76 all the way here, at 4:1 doing about 3dB of GR, blended with the dry track in parallel. I should experiment with the others to see what they do. It's sorta the obvious choice for beating on snares, though I'm betting the 501 would do a fine job as well.

OHs: ART Pro VLA II. No EQ as the second channel on the White is buggered for the time being. Actually slamming this pretty hard on the snare hits, taking off 6dB or so, but it adds a nice punch to the snare. Otherwise it's not doing much, 1-2 dB or so. I keep meaning to retube it to open it up a little sonically, but it's still quite nice in stock form. Probably the best thing in the rack for compressing overheads and not hating yourself for it.

Toms- DBX 163Xs. I probably EQed them a bit too much and they wound up sorta hollow after listening back with some guitars going. This is just a test of the emergency broadcast system, after all. They'll live. Now, I often do horrible things to close tom mics as if I had some personal animus toward them. No distortion here, though I suppose I could if I ran pre --> comp --> EQ. The level control on the White EQ seems to be a simple passive attenuator, so no breaking that thing up... That way, at least. Anyhow, the DBX, despite being a simple one-fader smashbox (said fader conveniently, and amusingly, labeled "More") can do some serious damage without sounding pumpy. 6-8dB here, and still punches. Presumably its release is quite fast.

Room- WA76, all-buttons-in. A classic drum destroyer. IIRC the all-buttons-in mode (really, an accident of the circuit design and switching) compresses around 25:1 or so, and it certainly has an audible serving of distortion. It also makes the VU meter act funny. No idea what this is actually doing in measurable terms. Serious EQ going in, cutting out a ton of top end and cymbal hash. Makes a great reverb though it sounds super lo-fi soloed. For what it's worth, depressing all the ratio buttons at once is moderately annoying. You pretty much have to mash the thing with your thumb, and they only go halfway. Still, they stay there, and something happens. John Bonham would be proud.

Hats: Why on Earth would anyone compress a hat mic? Some serious EQ happening here, though. HPFed all the way up at 160hz. Surprisingly, perhaps, there's useful hat information down as far as the 250hz range, but you'll never hear it in a rock track with big dirty guitars. Boost at 500hz, cut a whole bunch of top end. The hat mic is for midrange chunk, the sort of thing you hear on real hats in a room, but is often missing on record. Also, employed the tone switch on the TB12, which provides a generous amount of additional mids.

If after some initial experimentation I feel a) this sounds better than software, and b) people buy sample libraries to sound like this, I'm probably on the right track.

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Sat Jul 23, 2016 10:49 am
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