Do not as I do

Production

Hey, remember back in https://chunkstyle.net/blog/?p=14 when I said I was experimenting with kick drum mic placement, and decided I liked how it sounds with the mic further away from the kick drum?  That was a horrible mistake.  Basically, what’s happened is the mic picked up the kick drum, and the rest of the drums.  Yes, the sound is more breathy and open, but it’s much harder to work with on the back end.

My drum processing, in a nutshell, is this: gate, compression, eq/effects.  I’m gating the drum track which means I set a threshold where any sound softer than that won’t be played at all.  Ideally, this would mean that only the kick drum hits would come through, and any noise or bleed through of other drums would be effectively eliminated.  Then, the compression and other effects could aggressively target the specific frequencies I want to manage in the kick drum.  Unfortunately, as a result of the mic placement, there are snare hits louder than some of the quieter kick drum hits, so they overcome the threshold as well.  The cymbals – especially the china and ride – also are louder on that track than the kick in places, so they’re getting mixed in as well.

What this means is basically the entire drum kit is getting effected the same as the kick drum – ie all low end with just a hint of definition in the highs.  This winds up making the overall mix overly bass-heavy, and when I compensate for that, the entire mix sounds thin.

Again, I’m hearing a chorus of “well, duh!’

Luckily, I came to my senses pretty early in the process, so only one or two songs have this problem, but it is a problem nonetheless, and I’m not really in any position to redo the drum tracks.  I’ve already dismantled my makeshift studio in Kevin’s basement, and I’m pretty sure I’d have a riot on my hands between Grant and James over redoing their parts.  So, I had to get a little creative.

What I’m doing amounts to manually gating the track.  I go into my editor and decrease the volume of any hit that’s not a kick drum so that it falls below the threshold.  It was a pain to do, but I think it helped.  Now, only the kick drum sounds like a kick drum, and not the rest of the kit.  I can boost the kick drum track without boosting the low end in the rest of the drumset.

The rest of the songs have more sane kick drum mic placement of that Realistic mic.  For the next project I do, I’m investing in a dedicated kick drum mic.

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Preproduction Junction, what’s your function?

Production, ,

Preproduction probably officially started several years ago when I first started writing and demoing these songs.  For this context, preproduction started sometime in late 2008.  I had been in a band that came to an end, and I was working on another project – Metroid Metal Live – that seemed like it would be a one-time event.  (That’s turned out to not be true, but more on that at another time).  I wanted to have something lined up to take advantage of the momentum from the Metroid Metal Live show in January 2009, so that’s where the idea for a “solo” project originated.

There have been a number of former bandmates I’ve kept in contact with over the years, and there’s always been discussion of doing long-distance recording, but nothing ever came of it.  This seemed like a perfect fit for this, so I started talking to these guys again, and without exception, they were into it.

Through my previous band, Life on the Blue Dot, and Metroid Metal Live, I had access to an absolutely amazing drummer, Kevin Lawrence.  He was keen on having a project beyond MMLive, and I would have been a fool to turn him down.  We’d been practicing every week for MMLive, so after that, we just picked up and started practicing the songs I’d selected for this album without, if you’ll pardon the pun, missing a beat.

I’ve noticed in the past that songs improve immensely AFTER they’ve been recorded.  When you’re tracking each instrument individually, you have a chance to figure out what does and doesn’t work, and can adjust accordingly.  Sometimes you don’t notice those tiny details when you’re rocking out at full volume.  I did some basic open-room recordings with Kevin, and they’ve proven to be very useful.  For instance, this recording of Concrete Flea felt good while we were playing it, but when I listened to it later, I realized it was WAY too fast for other parts I had planned (particularly the melody) to work effectively.  So, we adjusted, and in subsequent practices we’ve worked to slow it down.

Also, listening to these recordings has reinforced my belief that I have no business playing guitar on this album.

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