putting this amount of effort into a fucking kick, and you have the reason why trance music is fucked today.

That's actually a lot less effort than most MEs put into tracking and mixing real kick drums. Hell, it's even less effort than I usually put into mic'ing and mixing the kick when I was doing live audio. Setting up multiple mics and dealing with spill/bleed, room/stage noise, the annoying drummer who spends more time complaining about how much kick in his monitor than he spends practicing, yada yada yada - that's far more work than layering a couple of static samples. Then you have to deal with the kick in, kick out, overhead, and room mics, compress and EQ each one. Anyway, yeah, layering a few samples is ruining trance.

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quote:

Originally posted by cryophonik That's actually a lot less effort than most MEs put into tracking and mixing real kick drums. Hell, it's even less effort than I usually put into mic'ing and mixing the kick when I was doing live audio. Setting up multiple mics and dealing with spill/bleed, room/stage noise, the annoying drummer who spends more time complaining about how much kick in his monitor than he spends practicing, yada yada yada - that's far more work than layering a couple of static samples. Then you have to deal with the kick in, kick out, overhead, and room mics, compress and EQ each one. Anyway, yeah, layering a few samples is ruining trance.

THIS.

I love it when people complain about something taken all of 10 mins (even an hour) ITB, and don't think to compare it to how long it would take to get a good recorded kick?

First mic setup with the trusty D12, and a coupld of Rooms, and prolly overheads at bare minimum. Then you've got to use a nice pre and get a nice hot level. That already has taken up more time than Dave West's tutorial. Now you've got to do a few takes with a drummer that all the above demands, then cut the kick, layer it, comp it, compress it, eq it and bounce it.

All said and done - 1 hour minimum and that's before teardown and carefully packing it all away again.

Kids these days. Don't know how easy their Schranz is.

I helped a friend set up mic for 90 piece orchestra.

Decca mics , standard room pairs and spit mics for every section.
A bunch of spot m/s pairs.

Room was in Europe so he was a little paranoid so we were using measuring tape.


Probably could of used a stereo room and single spot mic per section.
Budget was small. h Wanted to cover any possible bleed / phasing issue.

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Prague huh? amirite?

I've done full 90 a few times and it can be a little daunting. You really don't want a shitty recording when the talent can be up to $50k a day.

There are ways to keep it simple though. Decca tree is always the way to go IMO, but certain people I know hate them.

It's really room pairs and splits for each section, overheads for any percs and spots for each section. Then obviously mics for solo instruments, and usually spread rooms (out perimeter). That is a lot of mics and channels though. Phasing is really dealt with by distances and it's not as big a deal as people make out - you just have to do the flip phase test for each and adjust, but even then, as long as you've got enough discrete tracks you can just nudge the file in in the mix. You're fucked though if you're limited on the mics and get phasing issues you didn't hear during soundcheck.

One I guy I know (classic recorder, not score) runs a loudspeaker to some of the sections (brass, strings) which is a hot feed from their mics. It basically doubles the sections and makes it sounds more full. Never done it myself but he swear by it and given he's the go to guy for the big SACD recordings, he must be on to something. I still don't really understand how he manages the feedback or phasing.

I was at the met last autumn to see Lang Lang and Mat Orch - I was amazed how little mics they used. I know it's only performance but they still wanted a recording. He had a 40 piece on stage with him and only counted 12 mics total, mainly schoeps, mostly hangin room (then again, the room aint bad).

Is this for any genre or we talking trance here? (I thought this forum was for that genre).

Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?

quote:

Originally posted by SiTrance75 Is this for any genre or we talking trance here? (I thought this forum was for that genre). Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?

True to form most discussed IS for Trance,however there are some of the people who post here who are audio professional's and deal with a long list of genres that isn't necessarily electronic.

"Also won't some of the eq'ing / filtering be dependant on the initial kick sample chosen?" Absolutely,but wouldn't that be with anything? Not to mention,what you are adding to it also changes and may possibly need adjusting.

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🤠 Duda on DeadMau5's kicks. Duda, Duda.