![]() ![]() K-12 sets 0dbfs = 95dbspl and therefore -12dbfs = 83dbspl =0dbRMS, which gives you headroom equivalent to 15.8 times as loud K-14 sets 0dbfs = 97dbspl and therefore -14dbfs = 83dbspl =0dbRMS, which gives you headroom equivalent to 25.1 times as loud K-20 sets 0dbfs = 103dbspl and therefore -20dbfs = 83dbspl =0dbRMS, which gives you headroom equivalent to 100 times as loud Thank you!Ġdbfs is nominally equivalent to a high spl, set by how you are calibrating your meters to spl: e.g. ![]() However, there is also this to consider: say I reduce the kick gain to leave headroom for other things in the totality of the mix, would I need to take care that whatever limiting/warming I add on the master bus is not going to affect the kick? These samples are good enough on their own and I really know when not to touch something. ![]() They obviously do not need any kind of limiting or excitement or warmth added, but please tell me this: if they're already at 0db, do I have to bring them down in volume so as to leave headroom for my other (synthesized) elements when I eventually do add some limiting and warmth to the master bus later on? My instincts tell me to bring it down to -3db or so. In any case, may I ask a follow-on question? I'm working right now with layered pre-produced kicks all pretty much 0db from the outset. Here is the public link: And thank you Wallengaard for taking the time as well. ![]() I've looked at 4 bars of this in Audacity and it does appear visually as a slow, time-synched LFO. Bandcoach is right - a limiter has never fixed the slow phasing. Get balance, depth and separation in your recordings and mixes here.Thank you all for your replies and apologies for the delay. If you have a good sound but it’s out of phase with the rest of the kit you can always flip the polarity to hopefully make it better like I did.įor more ways to make sure you’re getting the best out of your recordings, check out the Recording & Mixing Strategies Bundle. Check your phase when you’re recording with multiple mics and try to get it as close as possible. All the other waveforms were in phase with each other but if youīecause we didn’t want to move the mics the kick drum was better in phase with the other mics that were also picking up the kick drum. However, they were not in phase with the rest of the kit. One mic was inside the kick drum and the other was outside and picking up a considerable amount of bleed.Īfter a few tries we got them to be more or less in phase with each other as you can see in the waveform. My biggest concern for the kick drum was because I was using two microphones and I wanted to make sure they were in phase. In this recording here we put all the mics up where we thought they sounded best. I wanted to give you a quick tip today when it comes to recording drums and making sure you get the best kick drum sound. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2022
Categories |