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understanding room acoustics

Posted: Thu Oct 11, 2007 8:22 pm
by scott_Archive
otisroom wrote:
scott wrote:i've always wanted to track drums in a parking garage. I think if you close mic'd everything, and then mixed in a signal from a mic a good 50' or 100' away, it could sound cool.



I've tried something like this before and if you set the mics too far away you will eventually have an unusable delay. It's better in my opinion to put the room mics by the kit but facing away.


well, like I described, if you un-delay it either by moving it forward in time by X milliseconds or by delaying the close mics, you could have zero delay if you wanted. so the delay itself seems like something that would easily be made into a non-issue.

I mean, hell, if you time shift it enough, you could make it into a pre-delay, so the distant room sound comes first.

why not?

understanding room acoustics

Posted: Fri Oct 12, 2007 2:10 am
by otisroom_Archive
Ya I didn't read your second post mr man.

understanding room acoustics

Posted: Mon Nov 05, 2007 4:24 pm
by glumble_Archive
hey guys, i'm back from the first weekend of recording. we used the office room for the drums from close range and the sound was decent, but claustrophobic. we're looking for a much more "open" drum sound, ala talk talk's laughing stock, which from my understanding was recorded in a similiar manner to what you guys were suggesting to do in the warehouse (i believe they used one mic 30 feet away, and sometimes another mic on the kick) we're thinking of doing a mono mix, using the smallest amount of mics possible. i'd imagine we're going to use the AT4051's to grab some sort of sound from 30 feet or so back, and possibly using another mic from close range (perhaps the AKG Perception 200), but we have a variety of (some shitty and some good) mics to work with, including beyerdynamic201, AT pro 37, a handful of shure 57s and a 52a, as well as the previously mentioned AT4051 overheads.

any suggestions for how to maximize the "openness" of the (mono) drum sound, if we're using a somewhat large pull barn (high ceilings, walls are concrete but panneled with wood)? i have a feeling it's going to be a lot of trial and error with mics placed quite a bit away from the kit with minor adjustments in the mix to deal with the delay, but i'm open to suggestions as far as a concrete setup goes, or atleast some sort of starting point.