Pitch changy bass drums.

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I'm mixing a rockish recording with a kick drum close mic that kinda goes
'dink dump donk damp bump dink'. It's hard to eq because it keeps changing
sound. It's my own fault, because I did not notice it when they were
laying it down. I suspect a word with the drummer might have sorted it out
at the time. It sounds ok but distant in the overheads.

Anyone got any ideas? Whacking the hell out of it with compression does
not seem to do any good. I don't really want to trigger a sample if
possible.

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Drumagog.
Max Arwood

"philicorda" <philicorda@foxtrot.tydrwg.org> wrote in message
newsan.2005.07.11.21.41.21.189672@foxtrot.tydrwg.org...
> I'm mixing a rockish recording with a kick drum close mic that kinda goes
> 'dink dump donk damp bump dink'. It's hard to eq because it keeps changing
> sound. It's my own fault, because I did not notice it when they were
> laying it down. I suspect a word with the drummer might have sorted it out
> at the time. It sounds ok but distant in the overheads.
>
> Anyone got any ideas? Whacking the hell out of it with compression does
> not seem to do any good. I don't really want to trigger a sample if
> possible.

Archived from groups: rec.audio.pro (More info?)

In article <pan.2005.07.11.21.41.21.189672@foxtrot.tydrwg.org>,
philicorda <philicorda@foxtrot.tydrwg.org> wrote:

> I'm mixing a rockish recording with a kick drum close mic that kinda goes
> 'dink dump donk damp bump dink'. It's hard to eq because it keeps changing
> sound. It's my own fault, because I did not notice it when they were
> laying it down. I suspect a word with the drummer might have sorted it out
> at the time. It sounds ok but distant in the overheads.
>
> Anyone got any ideas? Whacking the hell out of it with compression does
> not seem to do any good. I don't really want to trigger a sample if
> possible.

If you want a consistent fundamental tone, you could try the old trick
of triggering a tone with a gate (ie, have a 60 hz tone going through a
gate being triggered through it's side chain from the kick drum). Used
to do this back in the old analog days using the desk's test tone.


Just an idea.
Edwin
--
http://www.theetherealplane.com

Archived from groups: rec.audio.pro (More info?)

On Tue, 12 Jul 2005 12:48:42 +1000, Joe Mama wrote:

> philicorda wrote:
>> I'm mixing a rockish recording with a kick drum close mic that kinda goes
>> 'dink dump donk damp bump dink'. It's hard to eq because it keeps changing
>> sound. It's my own fault, because I did not notice it when they were
>> laying it down. I suspect a word with the drummer might have sorted it out
>> at the time. It sounds ok but distant in the overheads.
>>
>> Anyone got any ideas? Whacking the hell out of it with compression does
>> not seem to do any good. I don't really want to trigger a sample if
>> possible.
>
> My guess is the pitch (fundamental) of the drum is changing due to the
> drummer 'burying the beater' with varying pressure on every hit,
> effectively tightening the drum head by slightly different amounts each
> time. Does that sound like what it is?

Yes, that makes sense, it sounds like that. I'd got him to switch from a
felt beater to a plastic one, which probably did not help. The skin was
tuned pretty low. I'd got rid of the front skin too, as it was very ripped
up and just flapped about a lot.

> If you have an eq that will do
> it, you could notch out several frequencies down there, but that would
> most likely do more harm than good. You could also gate the bejeezus
> out of it, and either add some very tight ambience to it, or let the
> distant overhead sound be more prominent (just using the close mic for
> attack/presence), but the appropriateness of that will depend on the
> genre. If you could post a little sample of it somewhere along with a
> stylistic description, it would be easier to make a recommendation.
> Without hearing it, I suspect your best course is triggering/sound
> replacement.

A very short gate, loads of top end and eqing some low end into the
overheads and a little ambiance has made it sound not so bad.

I tried keying a very low sine osc too. It did not work to sort this kick,
but putting the osc through a fuzz, and tuning it to the key of the
song did something rather nice.

>
> HTH,
> -joe.
>
>
>
> ________________________________________________
> I must be lost: I've passed the point of no
> return three times in the last hour.

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There are software functions (ProTools etc.) which now will allow you
to replace any instrument footprint with another. IOW, you could take
one recording of the bass drum that you like and drop it in to all the
other bass drum hits. I am not personally experienced using it so I
don't know all of its parameters (velocity, volume etc.) but I know it
does exist.

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<peakester@earthlink.net> wrote in message
news:1121238273.662738.214930@o13g2000cwo.googlegroups.com...
> There are software functions (ProTools etc.) which now will allow you
> to replace any instrument footprint with another. IOW, you could take
> one recording of the bass drum that you like and drop it in to all the
> other bass drum hits. I am not personally experienced using it so I
> don't know all of its parameters (velocity, volume etc.) but I know it
> does exist.

A DX plugin called Drumagog triggers a sample for a source track. I'm syre
there are others. Don't need no ProTools for that.

geoff

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In article <1121238273.662738.214930@o13g2000cwo.googlegroups.com>,
<peakester@earthlink.net> wrote:

> There are software functions (ProTools etc.) which now will allow you
> to replace any instrument footprint with another. IOW, you could take
> one recording of the bass drum that you like and drop it in to all the
> other bass drum hits. I am not personally experienced using it so I
> don't know all of its parameters (velocity, volume etc.) but I know it
> does exist.


Do you have any idea how long it would take to do this by hand and
match the replacement sample so that it works correctly on every single
hit along with the leakage from the overheads and yet also play with
the right dynamics??

In PT, you can get Sound Replacer. It's indispensable if you ever work
with drummers with bad kits or chops.




David Correia
Celebration Sound
Warren, Rhode Island

CelebrationSound@aol.com
www.CelebrationSound.com