Damn, most of that went over my head. I was specifically talking about
the Phantom power aspect of it.
What I am driving at is when the phantom power is one for the two
mikes, it picks up sound even when the gain knob is completely turned
down. What I am aiming to do is to correct this in order to have
better control over the two mikes's sensitivity. None of my none-power
mikes are giving me this issue.
I did study miking the drum set in college. This is more technical. I
may call Sweetwater to ask if they could adjust it in th saffire mix
control software.
Thank you folks,
Vaughn
On 2/10/16, Chris Smart <csma...@cogeco.ca> wrote:
> By powered do you mean condenser microphones, as in, they require 48V?
>
> It sounds like your levels are just too high,
> either at your audio interface, or input levels in ProTools.
>
> Once you get your gain staging sorted out, mic
> placement may clean up some of your bleed between
> different parts of the kit. Or, use noise gating
> to take care of a lot of that spill.
>
> No comment on CMG's post really. You certainly
> didn't ask how to set an EQ or anything about
> mixing in mono. Yes mixing in mono is a good
> idea, and I'm guessing CMG got this from Graham
> Cochrane, a popular recording and mixing educator
> online. Believe me, starting a mix in mono is not
> a rare or unusual idea. LOL Chris, shouldn't we
> try to get his gain staging and mic placement
> sorted out, maybe some help with setting up noise gates?
>
> Vaughan, I apologize if in fact, you were looking for general mixing tips.
>
>
> At 09:29 PM 2/10/2016, you wrote:
>>Vaun,
>>
>>OK, so, here's the deal. I don't know much
>>about these mikes, I'm not going to sit here and
>>act like a know-it-all. Truth is, I don't
>>hardly know anything. However, that said, I do have a suggestion for you.
>>
>>I understand that this may be a little work, but
>>trust me. In the long run, you will thank
>>yourself e-freaking-mensely! for this! Try to
>>learn about E Q. Especially, I'd like you to
>>focus on learning about the queue control within
>>an EQ. Learn about what it means when we speak
>>of a symetrical, vs. an A-symetrical curve.
>>
>>Without going into much detail, what is probably
>>happenning is, you're probably getting what is
>>called bleedover. This is where one of two
>>things are probably occuring, and there's even a
>>possibility that both may be in the works.
>>
>>Firstly, you may be getting some noise from the
>>electrical power of the mike itself. This
>>shouldn't be very much, if any, but it's
>>possible. I mean, it is electrically ran. Be
>>it by a battery or not, digital or not, the
>>point is, there will be a slight bit of
>>noise. Generally, it's not enough to notice,
>>but sometimes it can creep through. With some
>>editting, and audio track clean up on your part,
>>and maybe with a little bit of confing, this can
>>be somewhat, though probably not entirely
>>avoided. It's just the nature of the beast.
>>
>>Also, a compressor might help a bit, though you
>>want to be very careful with that front, as too
>>little compression, it'll not fix the
>>problem. Too much, and you'll squash it to the point that it sounds
>> terrible.
>>
>>Here is a workflow I like using for getting rid of noise.
>>
>>I start with everything totally raw. Just
>>record your drums, your vocal, whatever you need
>>miked. If you have a hardware EQ, or pre, etc.
>>just set everything straight dead up the
>>center. Just put everything neutral at
>>12:00. Make sure you're coming in on your input
>>at around no more than say, -10DB. I've gone as
>>high as -8, but I try to stay away from minus
>>single digits as much as I can. It's not to the
>>point of clipping, but remember. When you get
>>to your final masterring phase, all your tracks
>>put together will add up for the final level,
>>which you do not want going over 0, regardless.
>>
>>The next thing I'll do is to do one thing that a
>>lot of people don't. I! personally say, mix?
>>in, mono! I know, that sounds maybe a little
>>weird, but I'm telling you. Try it! There're
>>plugins out there that'll do it. Route
>>everything through an AUX track, and make a
>>submix. On that track, flip everything to
>>mono. You'll get rid of this plug in the longrun, but just for mixing
>> sake...
>>
>>I then go back and this is where I think your
>>mike noise can be fixed. I'd go on to the
>>offending tracks. Not the AUX track, but the
>>actual audio track itself. On insert B, not
>>A. B. I have my reasons. Pop a compressor,
>>but only? do so, if you feel it's needed.
>>
>>Once you have your compressor tweaked and
>>sounding good, then it's time to get rid of that noise. pop an EQ on
>> insert A.
>>
>>The reason I told you to flip everything to mono
>>is because naturally, though totally boring,
>>hearing it this way will help you identify where
>>the problem lies. The truth is, I can't tell
>>you how many times, I thought something was
>>noise related, only to find that I started
>>reaching for EQ's, or maybe for compression,
>>etc. I got it sounding fine, but then when I
>>brought in the rest of the mix, the whole session totally fell apart.
>>
>>You have to think backwards. This isn't always
>>easy to do, but using mono will help you to hear
>>if something may just simply be out of
>>phase. You'd be shocked at how a very teeny
>>phase issue can be all it takes to give your mix stuff you don't need.
>>
>>Now, on insert A, remember, we've used B. On A,
>>pop an EQ. I'm not going to bore everyone on
>>list with how I EQ things, but let me give you a
>>little tip. Don't? add! You heard me right. Don't? add!
>>
>>A lot of people think, oh, this sounds too
>>boomy, or there's a hum, there is background
>>noise, be it electrical, be it phasing, be it
>>unneeded reflections, whatever. So they reach
>>for the EQ, and they start cranking up the mids,
>>or even more, the highs. They think if they can
>>just turn those way up, it'll compensate. The
>>truth is, and trust me. I had to learn this the
>>hard way. It actually makes it way worse! I
>>look at it from the angle of, there's
>>noise. Where is it? Let's killit. So, what
>>I'll do is, I'll find that frequency, by means
>>of setting a fairly narrow queue. This way, I'm
>>homing in more accurately on a low range of
>>frequencies. Then, I will turn the gain of that
>>band way way down. And I do mean, way!
>>wayyyyyyy! down. It sounds God aweful, trust
>>me, but I'm not done. I over-exagerate it
>>bigtime for a reason. Then, I start moving the
>>frequency control. I can't tell you move it
>>higher, or lower. You're just going to have to
>>use your ears. It's tedious work, but the more
>>you do it, the better and quicker you'll get at
>>it, trust me. Eventually, you'll hear the hum
>>or whatever you don't want get real real real
>>overly exagerated quiet. Once this happens, you
>>know you've hit the frequency. Now, go back to
>>your gain on that band, and start very very
>>slowly bringing it back up to an acceptable
>>level. If you feel it's killing part of it, but
>>not all of it, then widen your queue a bit, but go? easy! Don't overdo
>> it.
>>
>>Think of E Q as a chizzle. Not a bucket. You
>>don't want to add things. The goal should be to
>>get rid of what you don't need. Our ears hear
>>things more when we add, not when we
>>subtract. And, you definitely when mixing don't
>>want your listeners to be able to hear your E
>>Q. You want to give them a very natural feel in the spectrom.
>>
>>So, yeah, I'd start with E Q, and work your way
>>out. Remember though. Take away! Don't
>>add! Kill the offending noise, don't try compensating for it.
>>
>>The other thing is, check your mike cable. Is
>>it possible you may have a short in it?
>>
>>Chris.
>>
>>----- Original Message ----- From: "Vaughn Brown" <jazzdress...@gmail.com>
>>To: <ptaccess@googlegroups.com>
>>Sent: Wednesday, February 10, 2016 7:48 PM
>>Subject: Powered Microphones
>>
>>
>>Hello folks,
>>
>>As I am preparing my studio for professional
>>recording I̢۪ve noticed that the powered
d
>>microphones are giving me trouble. Even when the
>>input knobs are all the way off the microphones
>>still is picking up sound during the recording.
>>When I have them at the lowest setting it seems
>>to be clipping on the hi-hat and crash.
>>
>>The other microphones, none-powered, are working
>>as they should. I understand the bleeding is
>>typical but these powered microphones are
>>picking up way too much information. I do not
>>want them to pick up the entire drum kit but
>>rather focus on the hi-hat and crash. Should I
>>switch over and purchase none-powered
>>microphones for maximum control? Or is there a
>>way I can address these powered microphones.
>>
>>I am not sure what kind they are. They are
>>shaped long and narrow and are meant for drums and percussion.
>>
>>Thank you for your insight.
>>
>>Vaughn
>>
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--
Vaughn Brown
Berklee College of Music Graduate, Bachelor in Music, Drummer, educator
504-202-8492
http://www.vaughnbrown.net
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