Studio Blog
Getting "the" Drum Sound
Studio Blog
Thursday, 13 May 2010 15:50
We recently obtained some really cool studio tools that work great on getting signature drums sounds. The tools allow us to quickly isolate each drum sound from the others and to 'fatten' up the drums. The net effect is better heard than described. The snare drum can be snapped right to the top of the mix. We can now tune right into each drum to bring out the natural resonance of the drum. The art of recording technology is in applying these tools to enhance the drum set in the overall soundtrack. There is NOTHING like a great sounding drum set. No matter what style of music, drums can play a major role in the overall sound.
The hardware we added is a Universal Audio UAD-1 card. This card is an analog signal processor, allowing emulation of studio equipment costing thousands of dollars. These 'plugins' bring a smile to Matt's face as we hone in on 'the' drum sound. Honestly, I thrilled to have such a tunable drum mix. Let us put these tools to work for you on your next project.
Studio Updates - 1st quarter, 2010
Studio Blog
Tuesday, 06 April 2010 15:03
The studio got a thorough review using "Lean 5S practices", resulting in a more effective work environment. A storage area was created for infrequently used items. Items no longer in use were removed from service, some were sold. Next steps are to incorporate operational "opportunities" as they are identified into the overall business strategy capital spending plan and begin deployment of these ideas. The goal is to apply our limited resources in a way that most benefits delivery of customer needs, the current focus being recording quality and effectiveness.
A book on good studio practices was started, some procedures were written to speed recording setup time for repetitive practices. The audio patchbay functions were reviewed to confirm compressor and preamp inserts were working and could be re-routed. The goal is to allow for monitoring with effects while recording dry, or without effects (provides more flexibility during mastering). The revised setup worked well in the next recording session. Mono headphone mix sends were created from aux 1,2,3 sends, providing three channels of individual monitor mixes and reverb return. Now singers and instruments can use a common reverb send for monitoring, greatly improving the monitor system. An Alesis Midi-verb supplies a nice plate reverb for this purpose.
A problem with the room monitors was identified to be a failed cross-over. The cross-over was replaced with a newer Behringer 2310 2-way crossover with sub-woofer output. As a part of this change, a in-wall mounted draw-out rack was built and the 27-band EQ was relocated to this rack, freeing up space in the mixer rack. All wired had to be re-terminated as a result; the smell of solder filled the air. A Crown PB1 was tested as a sub-woofer amp but the fan was too noisy for the studio so convection cooled unit replaced it.
More drum changes. While I was at it, I made some custom length XLR cable for the drums. The snare drum head and stand were replaced, RemOs were added to all drums, a revised counterweight was designed for the bass drum, a bass drum muffler was installed, and all the drums were tuned. All drum mike setups were re-checked and a few microphones were replaced or changed out to get a better sound and separation.
Signal balance, we traced an overload situation on two tube pre-amps to trim settings on the Mackie and corrected the problem. Still needed is a splitter cable for the guitar, to route a dry signal to the recorder and a second signal to the amp and effects racks. The purpose here is not only for monitoring but to allow recording multiple dry and wet channels for each guitar take, reducing the need to re-record guitar tracks if the desired guitar setup is known and can be achieved on the first take.
Another flat screen monitor was added and both monitors were elevated to provide more comfortable and effective viewing, and to provide more surface area on the desk. These changes have made a good improvement to the ergonomics without resorting to custom monitor stands.
Drum Mike Setup
Studio Blog
Friday, 26 February 2010 00:00
The 8-channel snake is now hooked up and all the wires tagged for an 8-channel drum miking arrangement. XLR cables were replaced with 6ft & 10ft, sparing out the 25ft cables previously used. All channels go to bank "B" ADAT optical B, set for optical sync. On the Behringer, the sync is (not used). Voila! DrumsMore on Patchbays
Studio Blog
Friday, 26 February 2010 00:00
The patchbay is setup with half-normal and full normal connections on the 1st 8-channels, allowing to tap the line (top plug) or interrupt it (bottom insert). Channels 9-10 are a reverb return (for monitoring with reverb separate from the record channels). Channels 11-16 are now wired to the inserts, again so effects can be used in the monitor signal and separate from the record direct lines. For external processing, we have the Alesis compressor and the Hafler T3 pre-amp both connected to the patchbay. The good news is I do have enough 1ft balanced lines for the routing when needed.
The current primary use for the patchbay is to provide compression for an electric bass guitar, and to allow me to record my guitar direct and also use my effects pedal in the monitor. I haven't tried it for re-tracking but it could be used to take a line out to multiple amps and then re-record the signal.
Flatscreen Monitor
Studio Blog
Friday, 04 January 2008 00:00
I added a flatscreen monitor and two studio booms. I have a drum loop CD that is a pretty good history of jazz drumming, "The Samplist's Guide to Jazz Drums" is available from powerfx.com but can also be purchased at bigfish.com.More Articles...
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