On Jan 20, 2005, at 3:35 PM, GAmoore@... wrote:
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> thanks for the input - so what do you do about vocals? record scratch
> tracks low enough not to bleed, but loud enough for everyone to hear,
> or play the whole thing through without vox and add them afterwards?
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> Thats why they have isolation booths in the big studios. They sell
> them in the back of some of the magazines - or the poor man's approach
> is put the band in the garage and run a cable into the house, for the
> singer to sing with headphones.
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> Regarding the noise gate for recording the drums, it doesn't prevent
> bleed through, it just makes it less obvious on passages where there
> are instruments but no drums. However, if you set the noise gate
> wrong, it could easily cut off the end of cymbal rings at the end of
> songs and such. So I would apply a noise gate AFTER recording using
> Logic's noise gate.
Beyond that gating drums is just kind of a sucking sound IMO.
I have recorded bands in my little room isolating everything but the
drums and vocals and having the vocalist right in the room doing a
scratch vocal when everyone was doing their take. After this I did a
working rough mix while waiting for the "real" vocal. That would go on
later. The thing I found while mixing was that the processing I did to
the vocal mic made the drums sound beautiful and if I gated the vocal
mic so that there was no bleed into it during the parts were the
vocalist was not singing, the drums sounded quite limp and lifeless
until the vocal came back in.
For this reason in my little studio I have an isolation booth for
electric guitars and I may have all the players in the same room as the
drums but I do not have anything that is loud enough to matter in the
same room as the drums and I distant mic the drums in addition to all
the near mics.
Of course one could say that I could just mix the close mics of the
drums and then slap a good convolution reverb on the whole mix, but
some how it just does not quite amount to the same thing as having a
distant mic.
