Chris Perra
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Everything posted by Chris Perra
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The H2 is a stand alone recorder isn't it? Do you mean the H4N?. If you mean the H2 I believe each track you record can only be recorded internally. Or maybe to a daw through headphone out. If internally you'll need to have a click or something to start each performance with so that yo can line them up in audacity after. If you mean the H4n that's a different story as you can use it as an interface to a daw.
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Need Help With Muffled Guitar Sound
Chris Perra replied to goldylocks's topic in Music Production and Recording
That sounds like a low sample rate or not recording as a wave.. kinda watery sounding.. See what settings you are using as far as type of file you are recording as.. The suggestion above that the computer mic might be the one that is being used could be right as well.. definitely doesn't sound like a high quality mic with 44.1 sample rate.. the way that is is.. -
It a matter of perspective. If the loud parts are too loud you don't hear the quiet parts in a mix. If you use compression properly it allows you to hear all the parts. thus increasing the perceived dynamic range. "Wow, I can hear the soft parts too"... is the idea. If used properly you don't notice that it's there. I regards to a band mix,. If all you can hear is cack cack cack ect from the drummer.. sounds like everyone else is too loud. Or the drummer sucks at self balance, or both. You should be able to hear everything if you're doing it right. That has nothing to do with rimshots. you can play very quiet using rimshots. I do it all the time. just don't hit as hard. Use a lighter stick..
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Because that sounds like Steely Dan.. Lifeless soul sucking drum sound. Using compression properly is to increase the perceived dynamic range. You will in fact get more tone and nuances if used correctly. If you have a buss compressor set so that the cymbals duck when the snare is hit, you're doing it wrong. Or right if that's the effect you are going for. The correct way to do it is create a drum bus along side the drums mix, tuck it under the drum mix so you have the juice you are looking for, but because the drum buss is heavily compressed the cymbals don't get smeared/messed with.
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Sounds like a deep snare 6 1/2 to 8 inches. Ambassador skin on top with a fair amount of muffling. Snare wires set so that it's a couple turns loser than choked. Tuned medium tension not loose but not cranked. There's a good smack to it so sounds like a fair amount of compression on the top mic. There's also a tambourine here and there.
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I should rephrase that, for 2 and 4 on the snare 90% of the time.
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Is your budget just for the mic or for everything? The mic previously suggested is an Audio Technica 4033, As opposed to and Akg 4033. My suggestion is to spend as much as you can on the mic, Interfaces these days are quite good from most companies. You wind up spending alot to get a slightly better interface. The mic you choose will have a larger difference sound wise than the interface. A Neumann TLM 102 is great. So is an Akg 214 . Those might eat up your budget though if it's $1000 for everything. Blue Mics have some great budget mics as does Lewitt Audio. Look for an interface that comes with something like Cubase AI or a light version of Protools or Cakewalk ect. That way you have some basic software included. Mic Stand and pop filter will be needed as suggested before by Starise..
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Rim Shots to me are about the tone you get,. not the volume.. I play rim shots 90% of the time. While it is the best way to get the most volume out of a drum. It's also the best way to get the most colour and tone from a drum. It also helps with the definition of accents. Sounding good and having a balanced overall sound from the drum set needs to be payed attention to regardless of rim shots or not... It's like saying all guitar players with active pickups and 100 watt amps are too loud,.. Some are some aren't... it's usually the players that don't realize the context of the music that they are playing and the size and sound of the room/venue that they are playing in that have unbalanced sound. That can be applied to anyone..
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You'll need to figure out how to find notation that can do 2.4 notes per bar vs 4 notes per bar for 5 bars. 10 notes in a bar of 4/4 breaks down to 5 and then 2.5 if halved twice Good luck with the 2.4 that's tough. There's not a notation of 9.6 instead of 10 to start with.
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