De-Noising High-Hat And Cymbals In A Drum-Overhead Recording

Uncategorized Oct 15, 2019

There are two ways to mix and enhance a drum-overhead recording. Since overheads are positioned right over the kit they record every single drum. So one way is to leave it as that and also get some bass and low end from the kick drum and lot's of power from the snare.

I personally usually take a different approach. I like to put the overhead mics very close to the cymbals and high-hat in the recording phase to capture mostly cymbals and high-hat and not so much bass.

But if the track is recorded as described above we can remove most of the bass and kick-drum with an equalizer. This gives us a lot of control when automising the overhead track to dramatic effects. (Also, we usually have recorded the kick drum on a separate track anyway.)

The aim is now to remove as much bleed without changing the overall sound of the cymbals and high-hat. Even they can become to thin...

As always, a high pass filter helps to remove most of the bass, kick, and snare. A low pass filter can take away...

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De-Harshing An Electric Guitar Recording

Uncategorized Oct 12, 2019

Needles hurt, especially in your ears and sometimes electric guitar recordings can give you that pleasure.

If your ears get tired of listening to a song, even more on higher volumes, it might those high harsh frequencies (resonances) you can’t hear at the first glance but perceive subconsciously none the less.

Those noises can result from or depend on the quality of all parts of the signal chain, guitar, cables, amp, pedals etc.

We use a simple equalizer to extract those pinches. To work faster, loop the area (note), where you suspect the issue, solo a band and sweep around until you find the exact spot. Boost the band to make sure you there and then cut as little as possible but as much as is needed.

Bad neighbours, similar problems, might occur right next it each other, so make sure to check the frequency area with at least one other band.

Since we make areas in the higher mids quieter this way the overall guitar sound gets darker. In this case case it helps the mood of the...

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Next Level Live Toms With Waves’ SSL E-Channel Strip

Uncategorized Oct 09, 2019

On November 2nd 2018 I released my debut-album "Lorenz" celebrating my personal milestone with a concert in the Junction Bar Berlin.

After mixing, mastering and publishing the live-recordings of that evening as a live-record I got a request of showing how I achieved the powerful drum-sound.

Let's have a look at the toms now.

 

The recordings ended up fairly dark in sound and toms not rarely need quite an amount of mids to cut through the mix and to keep up with the presence of the snare and kick drum.

The biggest problem of the floor tom was its long sustain and even the snare hits let it ring endlessly. The gate helps to shorten the tom hits, although not perfectly, but if overdone (range/threshold) the gate won't open at all. So we have to live with the right cymbal triggering the gate as well, as the tom microphone was very close, possibly underneath, the cymbal.

As with kick and snare, a normal compression setting with a slow attack helps to control it...

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Improving Live Kick And Snare Recordings With Waves’ SSL E-Channel Strip

Uncategorized Oct 05, 2019

On November 2nd 2018 I released my debut-album "Lorenz" celebrating my personal milestone with a concert in the Junction Bar Berlin.

After mixing, mastering and publishing the live-recordings of that evening as a live-record I got a request of showing how I achieved the powerful drum-sound.

Let's treat the kick and snare in this video.


We gain transparency and separation of individual tracks by separating them in different ways. Here is the first one.

 

Enjoy The Silence With A Gate

Both, kick and snare, profited from reasonable gating. We only hear their short hits and not other instruments bleeding into the microphone in between, like the high-hat into the snare drum mic or the snare into the kick drum mic.

But first of all Antonio's drum set is a very good one and tuned finely as well, so the source sounds very good to start with. 

We used a pressure zone microphone (PZM, Beyerdynamic TG D71) which isn't very directional but records the whole...

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Advancing Live-Overheads With Waves’ SSL E-Channel Strip

Uncategorized Oct 02, 2019

On November 2nd 2018 I released my debut-album "Lorenz" celebrating my personal milestone with a concert in the Junction Bar Berlin.

After mixing, mastering and publishing the live-recordings of that evening as a live-record I got a request of showing how I achieved the powerful drum-sound.

Let's start with the overheads in this video.

 

Apply EQ For Loosing Weight And Letting The Cymbals Fly

With the help of ProTools EQ3 I like to remove some high resonances that always hurt my ears or teeth...

You could also apply some slight saturation or overdrive, which does a similar thing. I like to find the exact spot of the problem and get rid of it.

This move results in a slightly darker overhead/high-hat sound, which I like, but you could compensate by adding some highs with another eq or...

 

Take Out Bass And Rumble That Cover Up The Overheads

The aim of treating the overhead-track is to get the cymbals and high-hat ring as clear, open and transparent as...

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RECORDING | Choir & Grand Piano

Uncategorized Aug 15, 2019

A little Making-Of about a project I did a few weeks ago, where I recorded a choir and grand-piano.

I talk a little bit about the background of the whole idea, about microphones, equipment and techniques and I let you listen to some raw material.

At the end you can watch and listen to the mastered version of „Adiemus“.

Hope you enjoy it! 

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