11 Jun
2004
11 Jun
'04
8:04 p.m.
On Fri, Jun 11, 2004 at 02:17:06PM -0700, R Parker wrote:
Are three volume/dynamic samples for every single
sound enough for a sequence to achieve or get close
enough to the dynamics of a live player? Does anyone
know how the commercial drum libraries are produced?
Maybe we need five volume/dynamic samples for every
sound.
I dunno how many you'll need, but I think the two hardest
things in the kit will be hi-hat and snare, because they
sound so different depending on how you play them.
Stereo Image
I'm interested in knowing what people think is the
best solution for achieving live sounding stereo
imaging. I've spent several days recording test sounds
and conlcuded that some instruments are probably best
treated as stereo samples. Dry (no reverb) snare drums
can potentially be mono tracks but I suspect cymbals
must be stereo.
+1.
The cymbal recording strategy will be to form a
somewhat natural semicircle and possibly use an X/Y
mic pattern.
Ever tried M/S?
I haven't (don't have suitable mics)
but I've heard some nice overheads done that way.
Snare drums might achieve live sounding stereo
imaging
from 1 in 2 out reverbs. In addition to dry mono snare
drums, we intend to produce a number of reverb
processed (wet) stereo samples.
I tend to think that the sound of the whole kit includes
the various bleeds and resonances: e.g. toms and snare
bleeding into overheads.
I'd be inclined to keep the mic positions constant once
you get your sound locked down, and leave at least the
overheads mixed in to the close mics when you're recording
individual hits. This may help the whole thing "gel".
--
Paul Winkler
http://www.slinkp.com