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[教程] 混合鼓Overheads的小贴士

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Drums are generally tricky to both record and mix. The trickiest part of this tricky instrument is the overheads. For me there’s a bit of procedure that doesn’t vary — I do the same thing essentially every time. Then there’s a bit that varies depending on exactly what’s happening in the context of the music.

First I listen to what’s there to determine what my overheads are bringing to the table. When I track overheads I’m usually trying to record the entire kit, but there are some tracking engineers who are really only looking to grab the cymbals. Just depends on the style of music and particular tastes of the band.

People who want an unrealistically close and clean sound will usually go primarily for the cymbals, whereas those who want a more natural sense of the drums will grab the whole kit. When we only want the cymbals, it may be worth high-passing the overheads to drop out the kick and body of the snare. I find a linear phase EQ is usually good for this process.

Then I check the mono fold. The hardest part of overheads is getting a sound that’s both wide and has a solid center. This means having a really solid phase relationship particularly in regards to the snare. Checking the mono fold and seeing how much of the snare and kick we lose can be pretty revealing.

If a lot disappears we may want to sacrifice a bit of stereo width in order to get a tight center. We can do this by tightening up the timing of the overheads, using the snare drum as our focus. For this, I can either zoom in on the waveform and simply line them up visually, or I can use a program like SoundRadix Auto-Align. Now, again, if we are using the overheads mainly for cymbals it’s not quite as important if the snare and kick have a focused center, in which case I may opt to leave the imaging as is.

On the subject of imaging and width it’s worth noting that sometimes the cymbals can mask the guitars if they have a wide stereo field. It’s a little counterintuitive but sometimes getting the widest sounding mix actually means pulling the drum overheads into the center a bit. Wide overheads also feel very forward, which can be great, but sometimes we want the drums (cymbals in particular) to sit a hair back in the front-to-back imaging.

For me, this creates a sense of depth and an overall bigger mix. Super wide, super close overheads usually makes me feel like I’m either listening to something artificial or I’m in a living room with the drummer. Stylistically this can definitely work sometimes, but I’d say 75% of the time I want something a little more live and deep.

Once the prep work is out of the way, I need to pull in the close captures in order to get a feel for what the overheads are really doing. Simply having the close mics in changes the balance of the kit which inevitably changes the perspective of the overheads. Additionally, the bleed from the close mics will interact with the overheads and shift the tone.

If there’s a large tonal shift, or it starts to sound too cluttered, or for whatever reason the close mics aren’t playing nice, I’ll use an expander to reduce the overall bleed. This isn’t really processing on the overheads per se, but it helps me figure out where the overheads are really sitting which influences whatever processing I’ll end up doing.

But wait, we’re still not onto the overheads yet. From this point, I actually treat the entire drum buss before getting into any individual captures. Again, this processing isn’t on the overheads, but if I add EQ or compression on the drum buss it will influence the sound of the overheads.

To compress overheads or not to compress overheads?

Like all things, it is case-dependent. If the cymbals or snare are coming through with a bit too much “stick”, I will use a limiter or transient designer to tame it down. Regardless of the style of music, there’s a quality of spikey stick sound that almost always sounds cheap to me, so I’ll take steps to reduce it.

The next thing I’m listening for is player dynamics. If the player is a little all over the map with how hard they’re hitting the drums, a bit of compression can help even things out. Be careful, very good players are very deliberate with their dynamics so this is really a judgement call. I find a touch of compression just to hold things together is beneficial, but for some players, I may need to be heavy-handed. In that case, I try to use a very colored compressor and make it seem like a “stylistic choice” rather than a crutch.

Lastly, if there wasn’t a room capture or if I just want more of the wash and sustain of the drums, I’ll use some compression for that. Usually if the drums are “bedding” the song rather than leaving a bunch of open space this is a cue to make it a little washy.

From there I start to fix tonal issues so if there’s any weird resonances from the room in the overheads, I’ll sculpt them out. Mind you, this is why we get our balances first. Cymbals have high pitched non-harmonic resonances — it’s how they work. Cymbals oftentimes sound bad in solo, but balanced with the kit appropriately.

It’s important to have context before carving out every aberrant tone otherwise the cymbal will end up sounding lifeless. It’s only if there’s an irritating resonance in the context of the complete capture that I attenuate it. Now, if the sound of the cymbals is a little hashy then I might roll off a little top end or if certain hits are just causing the microphone to over-sizzle I’ll use a de-esser to keep the very top end of the cymbals in check a little bit.

Often enough there will be some boxiness in the lower-mids (particularly if recorded in a small room) that might need some taming. Oddly enough, I almost always find myself using an API 560 to attenuate this. Sometimes the close captures need the lower-mid energy to feel full, so EQing the overheads alone may be better than the drum buss. Most of the time, if the cymbals need extra sparkle/top end I’m addressing this on the buss.

If the kick in the overheads is making the feel of the kick too boomy/washy, I may high-pass the overheads. I talked about this before but this is more in the sense of fixing an issue rather than making a stylistic choice. I’ll listen to how the kick and the overheads play with the close capture of the kick and if they aren’t getting along I’ll use a linear phase high-pass filter to tighten things up.

Then from here, some basic EQ to balance things. I usually like API-style EQs for overheads. There’s just something about their tone. If the overheads feel thin, a bump around 2k usually thickens things up (particularly for cymbals). If you have a ride cymbal or crash that’s really present, take out a little 1k mid-range to open the sound up.

Once its all cleaned up, then I might want to bring the color of the cymbals out. So for this we can use a Waves MV2. There’s a certain color to this I really like. Or if the cymbals are too tame for the style of music, the Renaissance Axx Compressor, which is originally intended for guitars, but has a nice bite to it. Lastly, FabFilter Saturn can be really great for overheads. In addition to distortion, it also has tone controls and dynamic controls and can function in multiband so you can get a lot of great character into your sound.

Once my overheads are sitting right, I tend to sculpt my room captures around the overheads. I like it when they kind of play together rather than sound like “hi, I’m a drum kit and here is my room.” So while I’m pretty conservative with processing on the overheads themselves, I tend to be pretty aggressive on the rooms — with my general aim to be getting the room tones to sit into the overheads.


鼓通常难以记录和混合。 最棘手的部分这棘手的仪器管理费用。 对我来说有一些过程不改变——我基本上每次都做同样的事情。 还有一点,取决于什么音乐的背景下发生的。

首先我听来确定我的开销将桌上。 当我跟踪管理费用通常试图记录整个套件,但也有一些跟踪工程师只希望抓住钹。 只取决于风格的音乐和乐队的特定口味。

人想要一个不切实际的关闭和干净的声音通常会主要钹,而那些想要一个更自然的鼓将抓住整个套件。 当我们只希望钹,它可能值得high-passing开销辍学的踢和身体的陷阱。 我找到一个线性相位EQ通常是有利于这个过程。

然后我检查mono褶皱。 最难的部分开销越来越健全的宽,有一个坚实的中心。 这意味着有一个真的固相关系特别是关于陷阱。 检查mono褶皱,看到有多少陷阱和踢我们失去了可以很暴露。

如果很多消失我们可能要牺牲一点立体声宽度为了得到一个紧张的中心。 我们可以通过加强管理费用的时机,使用小军鼓作为我们的重点。 为此,我可以放大波形,并简单的视觉上,或者我可以使用一个程序像SoundRadix Auto-Align。 现在,如果我们使用管理费用主要用于钹不是那么重要,如果陷阱和踢聚焦中心,在这种情况下,我可能会选择离开成像。

在成像和宽度的主题值得注意的是,有时,钹可以掩盖了吉他如果他们有一个广泛的立体场。 有点违反直觉,但有时得到最广泛的测深混合鼓开销其实就是拉到中心。 宽的开销也觉得很前进,这可以是伟大的,但有时我们希望鼓(特别是钹)坐从前端到后端的头发在成像。

对我来说,这将创建一个意义上的深度和一个整体大的混合。 超宽、超近开销通常让我觉得我听一些人工或者在起居室的鼓手。 有时在文体上这绝对可以工作,但我想说75%的时间我想要多一点生活和深。

一旦准备工作的方式,我需要把关闭捕获为了感受开销真的做什么。 只要有关闭麦克风在变化的平衡的装备不可避免的开销的角度变化。 此外,接近中等收入国家的流血与开销和语气的转变。

如果有一个大的色调变化,也开始显得过于杂乱,或出于某种原因关闭麦克风没有玩好,我将使用一个扩张器来减少整体流血。 这不是处理开销本身,但它帮助我找出的开销真的坐在影响我最终会做任何处理。

但是,等等,我们还没到管理费用。 从这个角度,我把整个鼓巴斯在进入任何个人了。 这处理不是管理费用,但如果我添加情商或压缩在鼓巴斯会影响费用的声音。


像所有事情一样,case-dependent。 如果钹或陷阱是在太“棒”,我将使用一个限制器或短暂设计师驯服下来。 不管风格的音乐,有一个质量spikey把声音听起来几乎总是便宜,我会采取措施来减少风险。

接下来我听的是球员动力学。 如果玩家在地图如何努力他们打鼓声,压缩甚至可以帮助的事情。 小心,很好的球员这是深思熟虑的动态判断调用。 我找到一个压缩的团结是有益的,但对于一些球员,我可能需要严厉的。 在这种情况下,我尝试使用一个彩色的压缩机,使它看起来像一个“文体选择”,而不是一个拐杖。

最后,如果没有一个房间抓获或如果我只是想要更多的清洗和维持鼓,我将使用一些压缩。 通常如果鼓“床上用品”这首歌,而不是留下一堆开放空间这是一个提示,让它有点淡的。

从那时起我开始修复色调问题如果从房间里有奇怪的共振开销,我会雕刻出来的。 请注意,这就是为什么我们得到平衡。 钹搭高非调和共鸣——它们是如何工作的。 钹通常听起来糟糕独奏,但适当平衡的工具。

以前环境很重要雕刻每异常语气否则铙钹最终将听起来毫无生气。 只是如果有刺激性共振的完整的捕捉,减弱。 现在,如果钹的声音有点hashy然后辗轧可能有点高端或者某些热门只是导致麦克风over-sizzle我将使用一个de-esser钹的最顶端,检查一下。

经常会有一些boxiness lower-mids(特别是如果记录在一个小房间),可能会需要一些驯服。 奇怪的是,我发现自己几乎总是使用一个API 560减弱。 有时关闭捕获需要lower-mid能源有饱腹感,所以频率均衡孤独的开销可能比鼓巴斯。 大多数时候,如果钹需要额外的火花/高端巴斯我解决这个问题。

如果踢的开支正在踢的感觉太景气的/淡的,我可能高通的开销。 我之前谈过这个问题,但这更多的解决一个问题而不是一个风格的选择。 我会听如何踢,踢的开销玩关闭捕获,如果他们没有相处我将使用一个线性相位高通滤波器收紧。

然后从这里,一些基本的情商来平衡的东西。 我通常喜欢api方程式开销。 这里有一些关于他们的语气。 如果开销感觉薄,撞在2 k通常让事情变(尤其是钹)。 如果你有一个骑铙钹或崩溃,真的存在,拿出一个小1 k中档打开声音。

一旦其所有清理干净,然后我想把钹的颜色。 所以我们可以使用一个海浪MV2。 有一定的颜色我很喜欢。 或者钹太驯服,音乐的风格,文艺复兴时期Axx压缩机,这是最初用于吉他,但有一个很好的咬。 最后,FabFilter土星可以真正伟大的开销。 除了失真,它也有音调控制和动态控制,可以在多波段函数,这样你就可以有很多伟大的人物,到你的声音。

一旦就坐我的开销,我倾向于在开销雕刻我的房间了。 我喜欢它,当他们一起玩,而不是听起来像“嗨,我是一个鼓工具包,这是我的房间。 “虽然我很保守处理的开销,我往往是相当积极的房间——我的总体目标是让房间色调坐进管理费用。


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