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Originally posted by Zombie0729 its tough to say but it looks as if the mic was too close on the snare hit, registering it way higher in dynamics than most snares are recorded. go look at your sample cds of any acoustic snares and you won't see that spike on the initial strike. probably on purpose but i never see it on any of my cds

everytime i ever recorded a snare drum it generally looked like that before compression

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Originally posted by meDina everytime i ever recorded a snare drum it generally looked like that before compression

could be, i'm not working with a live drum kit so i dunno

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Originally posted by meDina everytime i ever recorded a snare drum it generally looked like that before compression

Thats right. Obviously the extent of it depends on how hard the drummer twats the snare and how much rim said drummer takes with it. The initial spike will have a very high dynamic range in a very short space of time (a few milliseconds at most). If its particularly great compared to the decay phase of the snare, then theres a very good chance it hasnt been compressed - at least not to any meaningful degree.

Another telltale sign that the output from your drum mics hasn't been compressed is if you open the drumtrack in a wave editor. If all the transient peaks are inconsistant then it probably hasn't been compressed.

I only figured out how essential it was to compress your drumtracks when I first mic'ed a kit. And the drummer wasn't hitting anything with regular velocity so 1 snare hit might on occassion be way louder than the one that follows it. With a bit of smart compression though, you can bring all the peaks in line so you don't get that sudden disparity in volume where one snare hit is significantly louder than any other.

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Originally posted by DigiNut Oh, they can use 'em alright - by turning them all the way to max the second they start their sets. DJs are willing participants in the war, always wanting their sets to be the loudest of the night.

Thats why some of the new mixers have digital volume locks..you have to enter the correct password to increase the volume. So now the engineer can set the max volume for the night. One guy I worked with (we set up sound and lighting for raves) had his mixers soldered and taped so the DJ's couldn't crank it higher.

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Originally posted by Limit Thats why some of the new mixers have digital volume locks..you have to enter the correct password to increase the volume. So now the engineer can set the max volume for the night. One guy I worked with (we set up sound and lighting for raves) had his mixers soldered and taped so the DJ's couldn't crank it higher.

haha thats funny, but genious.

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Originally posted by Derivative How do you expect an Oasis record to be mixed? peak level normalised to 3 decibels below zero, no loudness maximisation and all the meters green? Hah! Oasis is loud and brash and rude (though for different reasons now compared to then). 'Definitely Maybe' for it to be true to the spirit of the people that created it, needed to be loud and brash and rude. And it took something like 10 engineers before they got a mixdown they were happy with. And that engineer tried to brickwall every track and confessed as much on the same fucking documentary. Its an issue of appropriateness and inappropriateness. Nothing else.

This is totally true. I think that full-on EDM and screaming metal/rock really profit from this "loudness war". Stuff like that must be loud and proud IMO.
It is true however that some mastering engineers think that if it worked for club music, it works for any style, which is simply a mistake... No one really needs ambient music or a Pop ballad totally distorted and pushed to the limit.

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Cybernetika albums (free DL): Atropos (2009) | Nanospheric (2008) | Neural Network Expansion (2007) | Promo #1 (2006) | Paralysis (2005)

homepage: http://www.cybernetika.de