Hallo,
was Ihr nur alle gegen Obertöne habt...aber zur Sache:
Das ganze Kit klingt wie bei einem klassischen Jazz Setup. Wenn Du in ner Big Band spielen willst oder anderweitig jazzig orientiert bist, hast du keinen Grund viel zu ändern.
Von einem Rock/Pop/Funksound bist Du allerdings weit entfernt.
Darf ich fragen, welche Felle Du verwendest?
Wenn das noch die originalen wie auf den Fotos sind, dann sind es wohl einschichtige mit Ambassador vergleichbare.
Für nen fetten Rock-Sound hast Du von den anderen ja schon einige Tipps bekommen. Ich empfehle gerne die Lektüre der Drum Tuning Bible, darin findest Du viel Information über alles, was mit Trommelsound zu tun hat. Falls es mit dem Englischen bei Dir Probleme gibt, kannst Du von mir per Mail eine (ältere) deutsche Version bekommen.
Grundsätzlich ist die Fellauswahl zentral für das Klangergebnis, beinahe wichtiger als die Trommel selbst.
Zur Stimmtechnik habe ich nur einen englischen Text von mir zu bieten (für den Fall, dass Dir die Methode der DT Bible zu aufwändig ist).
The Optical Method (originally by Manni von Bohr):
make sure to place the head proberly even and tighten all rods to the point where they meet the hoop. Then tighten them up whole turn in half turn increments.
Now here's the trick:
Then give a little pressure to the middle of the head with your palm. Tighten rods further up where the head wrinkles. When all wrinkles are disappeared, the head is pretty close to be in tune with itself.
Go ahead tightening up the rods to the point you want the pitch of the drum to be. Repeat pressure trick after each round of tightening.
This method is not perfect, but it is good for a quick tuning process WITHOUT the need to hear anything! Obviously it works better with clear heads.
Zur Mikrofonierung gibts vieles zu sagen, da habe ich mal ein Projekt gemacht, das ich auch hier beschrieben habe. Allerdings findet die Suchmaschine den Beitrag nicht wieder. Daher hier die englische Version die ich im Pearl Drummers Forum veröffentlicht habe:
If you think closely about interference phenomenons in drummicing issues there are some facts to think about, e.g interference of the signals of directly miced drums and the overhead signals.
I did a project with a very professional drummer to figure out what to do about correct micing, interference and impulse widening (broadening? - well engish is NOT my mothertongue).
First I made a stencil to help placing the microphone reproductable. The parameters were height above the drum, distance from the hoop (both as projection onto the head) and angle to the head surface.
We recorded one drum 30 times with each angle, each time with different distance parameters. The position we liked the sound most was chosen. We both like natural, "honest" sounds most, so the chosen position is the one the sound is closest to what we heard when playing the kit acoustically.
That was 4cm (about 1 9/16 inch) from the hoop and 6cm (2 3/8 inch) above the head surface regarding toms and snare.
Roughly summed up these are the results we got in the positioning part of the project:
toms: seen vertically from the batter head surface pos. it about 2.5" above the drum and about 1.5-2" from the hoop in direction of the center, ca. 45 degrees to the head. Then experiment a bit with dislocating it in half inch increments in each direction. (Listen to the results)
kick: mic inside drum. direct mic to the point where the beater hits the head (=> kick). mic rather close to reso head, because that increases deep frequencies in sound.
snare: similar to toms. second mic from bottom recommended. Invert phase when using second mic (very important)!
A tuning hint for micd snare: when using 2 mics, tune reso about a third higher than batter.
overheads: 2 mics about 6ft above ground, about 2-3ft distance between mics. More overheads make more problems.
Place the PAN parameter of each directly micd drum on the mixer to match the position of the drum in the overhead signal. (Listen to the results)
The hihat is micd best with a mic like the ones that should be used for the overhead signal (very linear). EQ the deep frequencies away from HH signal.
In general, start EQ-ing AFTER the optimal positioning is done, not before!
Now I'll come back to the signal delay and impulse widening problem.
The speed of sound is 330m/s (meters/second), so that the sound impacts at the overheads about 2-4ms (milliseconds) later than at the directly mounted mic. We say that we have similar or equal signals in different phase.
If you imagine the signal curves of each signal above a time axis, you'll see the time/phase difference for the curves (best visible at the amplitudes). The stereo mix summs up all signals of the kit, in this case the tom signal and the overheads. If we look at only one overhead and sum both signals we see that the shape of the signal curve gets softer, the impuls of one hit gets wider (=> impuls widening). The result is a less projecting, rather washy sound.
If we look at the stereo signal, the problem gets even worse, because there are three similar signals with different phase.
Excurse: PAN button, what does it do? This button should bemore complex than the simple balance buton we see mounted to the stereo at home. The PAN does two things: it influences the gain ratio between the singal parts the left and right stereo channel get from a mono signal. And it adds a time difference (delay) to the channel with less gain. This makes it possible to use it for placing the single drum in the "acoustic room", in the best case the pan choice matches the position in the overheads "stereo-picture".
This is the case if the time difference inducted by the PAN button is the same like the one between the similar overhead signals for this drum.
The problem of the distance between the mic close to the drum and the overheads is still unsolved. Now, what can be done about this ?
There is the opportunity to add a little delay to the direct mic. It has to be done very exactly , increments of 0.1ms (milliseconds) or less should be possible.
When it comes to recording sessions, I usually delay the directly micd channels a few ms. If you try this, you probably will be pleased how great the effect on the sound, especially on hihat, is. You can cancel most of the EQ-ing, it is like taking the earplugs out of the ears.
Afterwards I usually clean the tracks from everything that is not needed, like crosstalk signals and such.
It's another story if you mic the whole kit from far away, this would be like just using overheads IMO. A solution wich uses only 3-4 PA-channels could be to mic only the bassdrum directly and use just two overheads placed next to your ears (about 1ft or less distance from your head each). The result will be a sound like you get with an "artificial head" recording. One snare mic could help to enhance projection, but use it's volume carefully to preserve a balanced overall-sound.
I sometimes record that way, because the sound is very natural and close to what you hear in you drivers seat position. Occuring problems with crosstalk from guitar and bass must be countered with good placement of the related amps.
Fell free to discuss, I like all input even if it's controvers.
Ich hoffe das hilft Dir weiter. Wenns mit dem Englischen nicht so klappt, gehts vielleicht mit eine Übersetzungsmaschine im http://WWW.
Nils
