Paneado de Bateriassssss

8/14/2019 Paneado de Bateriassssss

1/11

Estoy muy metido en eso, de hecho casi siempre me encargo de lasmezclas de los temas q grabamos con mi banda.

creo q mas bien el tema depende del ingenio y la creatividad que otra cosa.depende las pistas que tengras grabadas.

Lo q suelo hacer es ir a un estudio y grabar todas las bases y voces.

entonces tengo:

-una bateria en 8 tracks, o mas, o menos tambien.-Voces y coros

-ba o por linea y por mic- o alguna de ellas-!uitarras, en gral tomanas por " micro#onos, cercano y uno le os.

en mi casa mezclo.en mi caso, hay algunos punto basicos q siempre sigo, algo asi como

standard:

- Pongo en fase todas las pistas de la bateria: Los $verheads %mics aereos&suelen estas desa#ados del bombo, asi lo q hago es sincronizarlos con elbombo. lo mismo con todos los tracks de la bateria. tambien aparte de

sincronizar todo, L'()'$ cada pista. *olo de o q suene la parte necesaria -en los toms, por e . +rata de sacarle las #recuencias ba as a los aereos, de

esa #orma tambien reducis el de#asa e.

- si tengo 2 mics por toma de guitarra : o sea..uno de cerca y otro le ano, lo quehago es tambien sincronizarlos. El mic le ano tiene cierto retraso, por eso

es que lo sincronizamos. Es buena opcion duplicar los tracks con di#erentesecualizaciones %por e : uno con muchos medios, otro con muchos agudos&,

y luego mezclarlos.

- Trata de separa bajo y bombo: Es algo que lleva tiempo...la idea es que las#recuencias no se pisen, que el bombo tenga pegada y a la vez se note en

la mezcla. no se debe con#undir con el ba o.

- Duplica las voces : en gral, yo duplicolas voces...una voz natural...y la otracon reverberancia, luego mezclo a gusto. En gral, uso compresores para lasvoces. Lo de la duplicacion se puede aplicar a casi todo el proyecto, por eso

digo que es mas ingenio que otra cuestion.

Esto es algo muy basico, bien por arriba, con el correr del tiempo podemosir postenado mas.

podria pasarme horas tirando ideas ...buenismo el post

la seguimos

nos vemos MICROP O!" P#$C"M"!T

#et%s ta&e a loo& at a standard drum &it'


2/11

#oo&ing from t(e top t(is is t(e standard layout of rig(t (anded drummer' )(at *e(ave to do no* is Mi&e it+ ,o let%s start by putting t*o mi&es over t(e top-generally called t(e . $verheads ./' 0ut *(ere1 )e (ave to start t(in&ing in termsof a stereo image rig(t from t(e start'

T(e stereo 'mage is t(e picture of sound created bet*een t(e t*o spea&ers')(en a signal is placed e ually in eac( spea&er t(e sound appears to come froma p(antom centre spea&er3 t(is is *(at *e call t(e stereo centre $ll balancing isbased around t(is point 4 e'g' t(e bass3 &ic& and snare are normally panned int(e centre *(ilst t(e (i(ats3 toms and cymbals are spread across t(e spea&ersfrom left to rig(t' T(e easiest *ay to e5perience t(e stereo spread is to listent(roug( (eadp(ones *(ere t(e effect is more obvious'

T(e standard panning setup in drum recordings is:

6ic& 4 Centre ,nare Centre ats 4 alf rig(t7rig(t Cymbals 4 left 4 rig(t Toms 4 left 4 centre 4 rig(t'

0ut if you loo& at a &it it isn%t really setup li&e it s(ould sound' T(e snare is to t(e

rig(t3 t(e toms (ave no spread etc' In fact if you *ere to put up t*o over(eads leftand rig(t t(e stereo image *ould (ave t(e &ic& centre and t(e snare to t(e rig(tand t(e toms going from centre to left'


3/11

,ound Picture Created

8et on recordings if you imagine loo&ing at t(e &it from t(e front it loo&s -sounds/li&e t(e snare is centre and t(e toms spread from left to rig(t' -8ou *ill notice t(atI refer to t(e imaging as a picture 4 *ell t(at%s *(at it is+/ ,o can *e get t(eover(eads to paint a picture li&e t(is1 ave a loo& at t(is setup *(ic( is basedaround dra*ing an imaginary line t(roug( t(e &it *(ic( lines up t(e &ic& and snareetc'

T(e microp(one placement places a stereo image similar to *(ere you *ant to go


4/11

as far as t(e placement of t(e different components'

T(e mic placement *ill loo& li&e t(is.

8ou can no* start to (ear a stereo image of t(e &it as you *ill *ant to (ear it in t(emi5' If you *ere to put t(e mi&es toget(er in a stereo pair but aimed eac( side oft(e dividing line you *ould get a stereo image but a narro* one' T(e *idt(

increases as you move t(e t*o mi&es a*ay from eac( ot(er' T(e placement in t(edra*ings above are about normal *it( enoug( spread to ma&e t(e &it (ave some*idt(' )it( practice and careful placement of t(ese t*o mi&es you s(ould be ableto get a good balance of t(e &it' If you added a &ic& drum you *ould (ave a real3open sound of t(e &it'

T(e ne5t step is to mi&e t(e individual components so t(at t(eir position andindividual sound can be emp(asised'

6IC6 DR9M

T(ere are t(ree *ays of setting up a &ic& drum


5/11

ront and rear s&ins on' ront s&in *it( rear s&in *it( (ole in it ront s&in only'

T(ese t(ree set4ups create t(ree differing sounds' irst you must tune t(e &ic& asper t(e directions in t(e tuning drums page'

T(e first setup *it( bot( s&ins is a t(ic&3 solid3 round sound *it( a decay as t(edrum decays' I believe t(e best *ay to mi&e up t(is setup is to use t*o mi&es' Oneover t(e pedal and one at t(e ot(er end li&e t(is'

T(is setup allo*s you to balance t(e attac& sound of t(e beater *it( t(e decay oft(e front s&in' T(is mi&ing setup also brings up and important factor in recording:

(icrophone )hase elationships

,o *(ic( mi&e s(ould you p(ase reverse11' If you loo& at t(e microp(one over t(e

beater it is pointing do*n*ards li&e all t(e ot(er microp(ones on t(e &it *ill do*(ereas t(e microp(one on t(e front s&in of t(e &ic& drum is facing t(e opposite*ay' T(erefore t(e front s&in mi&e s(ould (ave t(e p(ase reversal' $s you can seeit is a good idea to reverse t(e p(ase of your &ic& mi&e even *(en you are notusing t*o of t(em as t(e normal &ic& mi&e setup places t(e &ic& mi&e out of p(aseto t(e rest of t(e &it mi&es'

,imilarly3 *(en *e get into mi&ing toms and snares top and bottom t(e bottommi&e *ill re uire a p(ase reversal'

T(e ne5t setup is *(ere t(e &ic& drum (as a front s&in on *it( a (ole in it' 0ecauseof t(e (ole you can access t(e front s&in 4 t(us t(e attac& sound 4 *it(out (aving

to use a beater mi&e'

ere t(e mi&e is placed inside t(e drum pointing to *(ere t(e beater (its so as to
http://www.saecollege.de/reference_material/pages/Tuning.htmhttp://www.saecollege.de/reference_material/pages/Microphones.htm#phasehttp://www.saecollege.de/reference_material/pages/Tuning.htmhttp://www.saecollege.de/reference_material/pages/Microphones.htm#phase


6/11

get t(e full impact of t(e beater' !ote t(at t(e mi&e is still out of p(ase to all t(edo*n*ard facing mi&es on t(e &it so a p(ase reversal is preferred' T(e mi&e is alsoplaced off centre *it(in t(e s(ell'

$not(er factor effecting t(e &ic& sound is t(e beater t(e drummer uses' 0eatersvary from soft to (ard' ard beaters -usually *ood/ (ave more impact sound t(ant(e softer beaters' "5periment *it( eac( and you *ill (ear t(e difference' o*close to t(e centre of t(e s&in t(e beater is placed also varies t(e sound' ,imilarlyt(e si;e of t(e drum stic&s t(e drummer uses *ill also effect t(e sound 4 t(in stic&saren%t going to go boof+ no matter (o* muc( you "< t(em'

*ound )ressure Level:

It s(ould be noted (ere t(at t(e ,P# -,ound Pressure #evel/ created by drums ise5treme so you must select a microphone t(at can (andle (ig( ,P# and event(en it *ill output a (ig( voltage into t(e console' T(erefore a Microp(one P$D

s(ould be inserted in t(e console to prevent t(e front end of t(e microp(onepreamplifier distorting' If your console doesn%t (ave a mi&e pad s*itc( you s(ouldinsert one in t(e microp(one lead' #i&e t(e p(ase reversal plug you can purc(asemi&e pad plugs from your local dealer' $ pad of any*(ere from =>db 4 2>db *ill bere uired'

$ note (ere about mi&e pads'

)(en purc(asing a console c(ec& t(at t(e microp(one pad is in t(e propersection of t(e circuit' ,ome manufacturers put t(e pad after t(e transformer andbefore t(e preamp' 9nless t(e transformer is an e5tremely (ig( uality one it *illdistort so ma&e sure t(e pad is before it in t(e circuit'

ere%s a circuit diagram for all you tec(o frea&s *(o understand circuit diagrams'!o*adays all t(e front ends are electronically balanced circuits t(at are capableof (andling t(e (ig( voltages t(at modern mi&es produce but if you are intoretro equipment its *ort( c(ec&ing your old console out because a lot *eremade *it( t(e pad in t(e *rong place'
http://www.saecollege.de/reference_material/pages/Microphones.htmhttp://www.saecollege.de/reference_material/pages/Microphones.htm


7/11

TOM,

T(e toms are similar to t(e full &ic& drum mi&ing in t(at t(ere is a mi&e on t(eimpact s&in t(at gets t(e full attac& of t(e stic& *(en it (its t(e drum plus you canalso add anot(er optional bottom mi&e to get t(e (ang of t(e t(e drum' 8ou mustagain remember t(e p(ase relations(ips (ere' If you *is( to add a bottom mi&e tot(e toms you must reverse it%s p(ase'


8/11

/0

+$(*

1L$$+$(*

If your drummer doesn%t (ave a bottom s&in on t(e toms you can use eit(er a topmi&e or bot( mi&es or you can opt for just one under mike *it( a p(ase reversalnaturally' T(e advantage (ere is t(at t(e under mi&e is inside t(e tom *(ic(isolates t(e mi&e from t(e ot(er drum sounds and improves separation'

C8M0$#, $!D I $T,

+he /ymbals

T(ese are basically covered by t(e over(eads but you mig(t find t(at t(e ridecymbal needs a mi&e of it%s o*n if t(e drummer rides it a lot t(roug( t(e c(orus'0asically you *ant t(e cras( cymbals to (ave a loose sound yet t(e ride often is t(emain drive as it replaces t(e (i(at for t(e ? a =@ feels' 8ou must consider t(isfactor *(en setting up t(e over(eads' Drummers also accent using t(e bell of t(eride cymbal t(at can be e5tremely loud so be*are of mi&ing too close to t(e bell oft(e ride cymbal or it *ill dominate t(e sound field' ,ome engineers mi&e t(e ridefrom underneat(' In a comple5 drum setup *it( lots of splas( and cras( cymbalsyou mig(t li&e to spot mi&e certain cymbals but I rec&on t(at if you%ve setup yourover(eads correctly t(ey s(ould cover t(e full cymbal range'

+he 2ihats

#i&e t(e over(eads t(e (i(at also re uires a mi&e *it( a clean top end so it%susually a condensor mi&e' I li&e to (ide t(e (i(at mi&e from t(e snare by placing itin a position t(at is pointed at *(ere t(e drummer impacts it *it( (is stic& but t(e(i(at is p(ysically bet*een t(e (i(at mi&e and t(e snare'

Aood separation bet*een t(e (i(at and t(e snare is desirable so consider t(e snare*(en you place t(e t(e (i(at mi&e' $not(er factor of t(e (i(at is t(e sound made*(en t(ey are snapped toget(er' I li&e to aim t(e mi&e so it is pointing at a point
http://www.saecollege.de/reference_material/pages/placement.htm#top%23top


9/11

t(at gets t(e stic& impact as *ell as t(e pointing at t(e edge of t(e (ats as t(at is*(ere t(e closing sound emanates' !'0' If you get too close you *ill get *inddistortion from t(e (ats as t(ey close'

One of t(e problems you can get is *(ere t(e drummer (as t(e (i(at lo* to t(esnare and t(e toms also lo* to t(e snare' T(is creates separation problems as *ellas ma&ing it (ard to isolate t(e snare from t(e tom' T(ere%s not muc( you can doot(er t(an as& t(e drummer to c(ange' T(is is not as a*esome as it sounds3 somedrummers (ave never considered t(is aspect of t(eir &it layout and on ma&ing t(ec(ange actually say it%s O6 and find t(ey easily got used to it and no* prefer it' T(esame problem can occur *it( t(e ride cymbal 4 some drummers (ave t(eir ridecymbal almost touc(ing t(e floor tom *(ic( ma&es separation (ard 4 I recently (ada drummer li&e t(at and *(en I mentioned it (e agreed to c(ange' $fter t(esession (e remar&ed t(at (e actually li&ed t(e c(ange and *ould do it in future'Moral of t(is story1 4 don%t be afraid to as&++

,!$R" DR9M

Once again3 t(e snare can be mi&ed from t(e top and t(e bottom3 in fact it is onemost often double mi&ed' T(e bottom mi&e on a snare can give t(e snare moredept( but it also gives you control over (o* muc( snare crac& sound is in t(eoverall sound' -T(e snare is actually t(e stretc(ed *ires across t(e bottom s&inand gives t(e snare it%s sound 4 ot(er*ise it%s just anot(er tom/' T(e snare mi&e isnormally s uee;ed in bet*een t(e (i(at and t(e first rac& tom and li&e t(e tommi&es is aimed at t(e main impact area in t(e centre of t(e snare'

*ide *tick: Often you (ave a drummer playing a lot of side stic&' I (ave used aseparate mi&e specifically for t(e side stic&' T(e side stic& action is for t(e drumstic& to (it t(e rim of t(e snare drum and t(e main impact is on t(e rig(t side oft(e snare' $s your normal snare mi&e is placed on t(e left side it doesn%t al*ayspic& up t(e side stic& clearly' !ot only does t(is give you a mi&e closer to t(e sidestic& action it also allo*s for different "< and effects for t(e side stic& sound' 8oucan eit(er trac& it to a different recording trac& or you can *atc( t(e drummer ands*itc( mi&es during record'


10/11

$M0I"!C" MI6",

Drums mi&ed close4up don%t actually sound very real as t(eir real sound is acombination of various factors' 8ou actually (ave to get a*ay from t(em to get t(efull sound' $ close mi&e on a snare doesn%t really sound li&e a snare drum -t(us t(eimportance of t(e over(eads/ so some engineers add $mbience mi&es to allo* t(efreedom to add t(e distance sound of t(e &it *(en mi5ing' !aturally t(e drumsmust be in t(eir o*n room for t(is system to be used or t(e ambience mi&es *illpic& up everyone else in t(e room' 0asically ambience mi&es are a stereo pair ofmi&es placed at a distance -room si;e limited/ from t(e &it' T(ey can be setup as acrossed pair or moved apart to gain a more ambient spread' 8ou mig(t li&e to tryusing a (* *tereo mi&e setup' $mbience mi&es can also be !ated 4 so t(ey onlyopen *(en t(e snare is (it for e5ample4 and you must (ave plenty of recordingtrac&s to allo* for anot(er stereo pair' $mbience mi&es effect all t(e &it and pus(t(e drum &it bac& in t(e sound field so if you *ant a round tig(t &ic& sound and anambient snare sound you (ave to gate t(em so t(ey are closed for t(e &ic& andopen for t(e snare' $n engineer I &no* used to (ang a very directional s(otgunmi&e (ig( above t(e &it aimed at t(e snare and use t(e under snare mi&e to triggera gate t(at opened it *(enever t(e snare *as (it' e *ould t(en mi5 it in *it( t(esnare sound and it gave t(e snare a natural ambience and *as e5tremely effective'

,o no* *e (ave set up all t(e mi&es *e are ready to start balancing andequalising them

(icrophones #or drums

+he 0ick ' )(at are *e loo&ing for in a &ic& drum mi&e1 irstly and mostimportantly it must be capable of *it(standing (ig( sound pressure levels++)(en a mi&e is only inc(es a*ay from a &ic& drum beater t(e soundpressure levels are e5tremely (ig( at lo* fre uencies' T(e &ic& drum mi&e

must be capable of (andling t(e e5treme transients involved' ,econdly itmust be capable of reproducing very lo* fre uencies'
http://www.saecollege.de/reference_material/pages/Microphones.htm#mshttp://www.saecollege.de/reference_material/pages/Compression.htm#gateshttp://www.saecollege.de/reference_material/pages/Balance.htmhttp://www.saecollege.de/reference_material/pages/Balance.htmhttp://www.saecollege.de/reference_material/pages/Microphones.htm#mshttp://www.saecollege.de/reference_material/pages/Compression.htm#gateshttp://www.saecollege.de/reference_material/pages/Balance.htmhttp://www.saecollege.de/reference_material/pages/Balance.htm


11/11

T(e t*o most popular &ic& mi&es are 4 T(e $6A D=2 and t(e 0eyer M??'T(e M?? is my favourite' 0ot( t(ese mi&es (ave an e5tended bottom endresponse and can (andle t(e (ig( sound pressure levels associated *it( &ic&drums' On t(e ot(er (and if t(e drummer is not (itting too (ard you can%tbeat t(e !euman 9?B or 3 *(ic( are (ig( uality condenser and (avelarge diap(ragms -good for lo* fre uencies/ and smoot( lo* end response'Ot(er mi&es are t(e ,(ure ,MEB7E? and t(e old R"2> *(ic( are bot(capable of *it(standing t(e load'

+he *nare ' ere *e are loo&ing for a mi&e t(at *ill *it(stand e5treme (ig(end transients and (as a tig(t pattern so as to &eep out t(e (ig( (ats andt(e adjacent toms' T(e most common snare mi&es *ould (ave to be t(e,(ure ,MEB and t(e ,enn(eiser MD 2=3 follo*ed by t(e !euman 9?B7?and t(e $6A = "0' Ot(ers are t(e ,enn(eiser MD = or t(e !euman6M? ' I%m al*ays ama;ed at (o* many engineers still use t(e ,(ure ,MEBeven t(oug( t(ere are lots of ot(er mi&es around' T(e main advantage oft(e ,MEB is t(at it%s a tig(t mi&e *it( a tig(t pattern t(at &eeps out t(e spillfrom t(e (i7(at and t(e toms' T(ey are also e5tremely reliable and don%tmind being (it by a *ay*ard drummer' I s(ould note (ere t(at t(e

difference bet*een t(e ,MEB and t(e ,M E? is t(at t(e ,ME? (as apermanent *ind s(ield 4 t(e microp(one section is identical' 8ou can buy a*ind s(ield for t(e ,MEB -!ote t(e t*o microp(ones ne5t time you see apress conference from t(e )(ite ouse'/

+he +oms ' T(e t*o main mi&es used for toms are t(e ,enn(eiser 2= andt(e ,(ure ,MEB' In t(e studio I li&e to use !euman 9?B%s as t(ey (ave abeautiful *arm bottom end' T(e ,(ure ,M EB%s don%t (ave a lot of bottomsbut if you%re tig(t mi&ed t(e pro5imity effect compensates for it and as *it(t(e snare t(eir tig(t pattern (elps'

$verheads ' Aood condensor mi&es ma&e t(e best over(eads' T(ere aret(ree main over(ead mi&es3 t(e !euman 9?B for *armt(3 t(e $6A = "0and t(e $6A E= for crystal clarity' T(e $6A C=>>> and t(e Roden are also

a good budget condensor over(ead mi&e e5cept I find t(at bot( (ave aslig(tly tinny top end compared *it( t(e more e5pensive models' I *ouldsay t(e $6A E= *it( a C6= capsule and =>db pad is t(e most popularover(ead mi&e'

2ihats. Condensor mi&es *it( a tig(t pattern ma&e t(e best i(at mi&esli&e t(e $6A E= or t(e !euman 6M? ' 0ot( (ave a =>db pad option *(ic(is (andy as t(e (ig( end transients from a (i(at are e5treme'

mbience (icrophones ' 9sually (ig( uality condensor mi&es are used(ere'

Documents

Paneado de Bateriassssss