runner
In general, I'm learning to mix dramas. It seemed to me that I was well versed in what the sound of live drums consists of, because I messed around a lot in Addictive Drams and twisted everything back and forth there.
Right now they gave me a multitrack, but the trouble is that the penetration of unnecessary drums into the microphones is just crazy. The scale is such that in the microphones of the snare drum, the barrel is heard only 2-3 db quieter (and this is not the echo of a spring, but a straight BARREL). In the barrel microphone, the snare drum is equal to the barrel in volume. Considering that this is reggae and a barrel with a small 50% are played together - this is super trouble.
Hat-Snare is also about the same situation as between kick and snare.
Tell me pliz, is this the norm? Is this the case in harsh reality?
aroma
Well, welcome to the real world:))))
Unfortunately, possession is addictive, it does not give you the skills to work with real dealers, as you have already understood. In addition, the very concept of working with the installation in principle is somewhat perverse -you work only with individual voices, and not with the whole instrument in principle.
In your case, I would not be steamed up with cleaning channels through equalization and noise gates-but tried to build a sound, starting from the overheads, according to the classics:) Add a small one with a barrel to taste, taking into account the nuances of penetration, then add a heavily squeezed room with a long release to create a pump effect and it may turn out interesting:)
amdm
look, there shouldn't be such a strong penetration at all. if it is so strong, the microphones may have been positioned incorrectly. but even in your situation there is a way out - put a gate with a quick attack and a fade time equal to the time between the barrel and the small one, but no more than 300ms. the threshold, respectively, must be selected according to the quietest blow in the small.
as for the small hat, there is an option here: steam the hat in one direction and the small one can be slightly reversed, depending on how loudly you want to bring the hat out (because we will add the small one with it). in total, this will give a small stereo effect on the snare drum, which may sound quite interesting. the main thing is to check the phase. together with the overheads, you should get a decent sound.
as
for the volumes - clean godlessly. you can even manually.
in theory, nothing but small penetrates into the barrel, at least I've always had it =) well, it's easier to set up a gate there.
cut off the overheads until a barrel climbs into them, usually cut from 500 Hz and above
scorp
Yes, in this case it is an overkill with penetrations. Incorrect microphone placement is most likely. Penetrations of course always take place, but not to the extent that you described.
a_sharapko
place the gates
runner
>equal time between a barrel and a small one - basically a kick goes every quarter, and a rimshot for 2 4 quarters, and in the chorus, which is all one big knock - everything is different, you can't remove the gates. In fact, I have already tried to cut the place of gates with everything that I can with my hands. And then we are even more so.
In general, most of all I like Pavel's option - not to bother too much with gates and so on, try it (again), but then the sound will be "too lively and thin", we'll see.
And then I'LL REPLACE EVERYTHING WITH SAMPLES OF HO HO HO.
And by the way, about "add a squeezed room" - these guys did not record the room:(