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<blockquote data-quote="Phil Graham" data-source="post: 99075" data-attributes="member: 430">Re: Mixing ResourcesAdam,Taking Silas&#039; very useful principle a step further, here&#039;s a practical example:The &quot;crack&quot; of a drum stick hitting a tom has frequency content almost to the top of the audible range, but simply because that is the case doesn&#039;t mean you want/need all of that crack in the mix. This is especially true with cymbal HF bleeding into almost every microphone on stage, especially the tom mics! Since 90% of the time for live RnR you&#039;d like less cymbals, and often leave cymbal microphones off entirely, cleaning up the toms is a useful endeavor.Starting with the tom mics to eliminate extra HF is a good place. Now, you can use some gating or downward expansion to help, but every time the gate opens, you get a big &#039;ol mouth full of extra cymbal &quot;wash.&quot; So, in addition to a little gating (I personally use downward expansion, it is less dramatic than gating), you&#039;ll want to roll off all of the extra high frequencies out of the tom microphones. Also common is to boost the remaining &quot;crack&quot; of the toms to give them some more cut.A fairly common configuration for me with toms is something like this: Boost tom mic to taste around 4-5kHz, and cut everything above 5-6kHz. On a console like the Midas Pro series, this is achieved with a built in low pass filter, and on something like the Presonus, you set the high shelf to maximum cut, and roll it down in frequency to taste. The boost is there to give enough &quot;crack&quot; to the drum, but without all the other high frequencies to go along with it.This general principle can be applied to many different sources, and the equivalent process can be done on the low frequency side with a high pass, as Silas and others mentioned.As a PS, once you get used to doing this, you&#039;ll wish that more consoles had a dedicated low pass filter on each channel.</blockquote>

[QUOTE="Phil Graham, post: 99075, member: 430"] Re: Mixing Resources Adam, Taking Silas' very useful principle a step further, here's a practical example: The "crack" of a drum stick hitting a tom has frequency content almost to the top of the audible range, but simply because that is the case doesn't mean you want/need all of that crack in the mix. This is especially true with cymbal HF bleeding into almost every microphone on stage, especially the tom mics! Since 90% of the time for live RnR you'd like less cymbals, and often leave cymbal microphones off entirely, cleaning up the toms is a useful endeavor. Starting with the tom mics to eliminate extra HF is a good place. Now, you can use some gating or downward expansion to help, but every time the gate opens, you get a big 'ol mouth full of extra cymbal "wash." So, in addition to a little gating (I personally use downward expansion, it is less dramatic than gating), you'll want to roll off all of the extra high frequencies out of the tom microphones. Also common is to boost the remaining "crack" of the toms to give them some more cut. A fairly common configuration for me with toms is something like this: Boost tom mic to taste around 4-5kHz, and cut everything above 5-6kHz. On a console like the Midas Pro series, this is achieved with a built in low pass filter, and on something like the Presonus, you set the high shelf to maximum cut, and roll it down in frequency to taste. The boost is there to give enough "crack" to the drum, but without all the other high frequencies to go along with it. This general principle can be applied to many different sources, and the equivalent process can be done on the low frequency side with a high pass, as Silas and others mentioned. As a PS, once you get used to doing this, you'll wish that more consoles had a dedicated low pass filter on each channel. [/QUOTE]

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