please help me settle an argument...

Can you guys settle an argument between me and my friend. I was telling him earlier how pretty much every rock recording on the radio today uses samples mixed with real drums to get that picture perfect drum sound........he said i was full of BS. Am I right or is he. thanx.

Unless you read about a session in Mix mag there is no way to know one way or the other. However, it's a fairly sure bet that it is common. And AutoTune.. yes, everyone uses it now. It's made the transition from a cheat to just another effect like reverb or delay. The over-correct thing is about as common as the wha wha pedal was in the 60s and 70s.

ORIGINAL: derekzoolander

Can you guys settle an argument between me and my friend. I was telling him earlier how pretty much every rock recording on the radio today uses samples mixed with real drums to get that picture perfect drum sound........he said i was full of BS. Am I right or is he. thanx.

I find this subject really funny these days.. Years ago we all looked for ways to make things sound better, now it seems like I find myself pulling back while mixing to make it sound real.. Granted I do a lot of Garage / Punk rock stuff, but there is a fine line between real and over doing it... Don't get me wrong I love the toys. :)

Glenn

I totally agree with everything you said and maybe I did not word it correctly.. In the past we where always looking for ways to (as you said) cheat more, but these days it seems like cheating is just so easy (just a click away).. To the point of stuff not sounding "real".. Trust me if you walked into my place and asked to take all my toys I would have to kill you.. :) I just find myself having to not use all of them instead of how it use to be "looking for toys"..
I just got done with a CD for Alive Recorders and he sent it back and asked if I would not make it so polished.. That would have never happened 10 years ago.. But I would never want to go back to how is was.

glenn

ORIGINAL: derekzoolander

I just have to say, Drumagog has ruined my life.......lol. I try to use it sparingly but for some reason EVERYTHING sounds better with a little sample mixed in there. I guess it doesn't really matter though, as long as the client is happy.

I was using Drumagog a good bit too, but I think it can be like compression where it sounds good initially, but then it doesn't sound as good later on when you realize you've overdone it. What I've tried to do is focus more on drum tuning and mic placement to avoid Drumagog. Also, I got someone who knew how to Eq drums and that helped a lot on being able to know what to do and what to listen for to make a recorded snare sound a lot better. One thing I've found helpful is to set a peak EQ at around 3 or 4 Q, boost it all the way up, and sweet through the lower midrange to find where it sounds the worst as far as bringing out that horrible ringing noises some snares tend to have. When you find that frequency, set the EQ to a narrow Q, maybe 15, and then pull it down to maybe negative 6-10 db. Do the same for 2 more peak EQs with double and triple the original frequency. This will notch filter out the ringing harmonic of the snare and usually will let you get a lot tighter sound. Keep in mind to do this BEFORE compression if youare compressing the snare. I tend to like the deep, fat snare sounds instead of the tiny, pop-sounding, crackly snares. I usually boost somewhere around 175-225 for this sound. I'm glad I've worked on getting good sounds at the source and I would encourage you to work on it a lot if you haven't already. I think it will be well worth the effort. Good luck!

Swaff

Yeah, with all of today's lazier/incompetent/wishful musicians out there...these tools can be their saving grace.

Try this crap with traditional jazz, and like acoustic music and you will be called on it.

But don't forget, all those records you like from the past were made before these sound replacement toys were avail.
I think it's better to get the proper tools (pre's/mics/etc) and learn how to record and mixdown properly - and then eventually make a choice to work with the better artists (read: competent with playing and managing their instrument).

*I'm done trying to make an idiot a star (sorry - go elsewhere, you've got zero respect from me. I've got too many decent/great artists I don't have to fix all day).