Oh well oh well oh well

Re: Oh well oh well oh well

Ronnie Reels said:
Was there a drummer vocal? Thats usually where the cymbal bleed is. Ride that fader or use an Optogate
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Oh, yeah. Then when the gate opens......PRESTO...... a bunch of noise along with the voice.

Better to fix it right in the first place than try a band-aid like a hard gate.
 
Re: Oh well oh well oh well

Kirby Yarbrough said:
Not to introduce a topic swerve, but in that situation how useful is an LPF or de-esser on the vocal mic channels?
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A common miss conception is that a cymbal is a high frequency instrument. Take a look at an overhead mic on a spectrograph and you'll see that they're very full range. Especially when drummers are hitting through the ride on 1/8th notes, the low harmonics really start to build up. It's typically not a good thing.

I'm sure Jay's well intentioned drummer was thinking, "all the audience is way back there, I better hit harder so they can hear." Chet Baker got it right, "It takes a great drummer to be better than no drummer at all."

thomas d.
 
Re: Oh well oh well oh well


In an effort to address stage volume, amongst many other things, I just got a set of the Zildjian Gen 16 cymbals (my buddy’s the drummer, I play bass on stage and provide). Last band had serious stage-volume issues, and it’s not gonna happen with this one.

The kit plus an additional 18” crash wasn't cheap (~$900 total with diligent shopping), but not necessarily more expensive than a decent set of regular cymbals.

I’m gonna work on them this this week in the studio to get them sounding right, but others have done it, so I’m confident that I’ll be able to, as well.


:)~:-)~:smile:
 
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Re: Oh well oh well oh well

Kirby Yarbrough said:
Not to introduce a topic swerve, but in that situation how useful is an LPF or de-esser on the vocal mic channels?
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Kirby,

Personally I will use a low pass filter on backing vocals, if need be, to clean up the HF on stage. Since I commonly end up adding 12k to lead vox for extra clarity, that is not very compatible with a low pass. If I have de-essing for the singer, I am using it for his/her sibilant range.

I will low pass toms pretty aggressively. Depending on the tom, they typically get some extra "snap" somewhere between 3k-6k, and i'll boost there and low pass above that. I'll also low pass kick above where the "click" point is. I'm more of a 3k5 guy on kick than the classic 5k boost.

I've also had good luck using a de-esser on hi hat, snare top, ride, or overheads depending on the circumstances. Set them depending on the cymbals and drummer, and they will help moderate the HF you get at the console when the drummer gets going.
 
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