highly compressed room mic on drums…
I’ve read a bit on other forums about using a Shure level lock compressor overdriven on a room mic for drums, and while I don’t have one of those, yesterday I tried my now working old 70’s TOA with a 57, driven really hard, and mixed that in with the rest of the mix. And it really thickened things up. The track by itself sounds like garbage, however, almost like the sort of thing you’d get if you stuck an old cassette recorder with one of those built in condensor mics in the room - as I am sure anyone here did when they were young, if they are around 40 or so now.
So…why does it sound good? Totally counter intuititve - why mix a bad sounding track in with good ones?
It’s stuff like this that makes this so much fun.
so you only highly compressed the ambeince mics? I’ve heard about really compressing drums but I hadn’t heard which ones or all of them.
Dunno Tom. I like to compress and gate my snare/kick/tom tracks, and leave the overheads as is. Then I’ll sometimes send the kick and snare to a group and compress that again, blockfish works well on this (unless a sinusweb plug is present).
Compressing overheads never really seems to work for me. A squished single room mic sounds like it might be interesting, sorta like a whisper track underneath a sung vocal.
If the comp has a very short attack, it should de-emphasize the drum hits and let the natural reverb of the room through.
I have also noticed that highly compressing / distorting a snare hit tends to supress any ringing sound and emphasize the rattle of the snare. So, maybe it is changing the tone of the drums, as well?
It’s weird, mostly in the last few months I’ve been doing what you do, Willy, but you know, the mic and signal chain were all set up for the guitar amp, I just sort of turned it around and set the levels after I had my usual mic set up in place, 'cause why not?
It definitely added to the snare sound, and the cymbals were thicker. I should mention that I love athe drum sound on the old Raspberries stuff.
Oh, and was only one ambient mic - the highly revered/despised sm57 - the rest of the set up was the Glynn Johns thing sort of, except I also had a mic on the snare.
I had a similar experience where we decided to record some stuff just so our dinger would have something to write to, so we stuck an nt1 in the corner of the praco room. Sounded surprisingly good, the snare was huge, guitar rocky… gonna use it as aroom mic proper at a later date…