How to debug the band drum kit?

The first step: low drum: the debugging of the low drum begins with the placement of the microphone. I usually put the microphone into the drum cavity and place it about 10 cm away from the back drum, facing the position of the hammer. Go back to the console and let the drummer use the strength of the normal performance to lower the drum. First adjust the gain knob so that the input gain does not exceed +6 decibels, and then start the sound quality adjustment. First, attenuate the low-frequency knob to make the drum sound clean first, then adjust the IF knob to make the drum sound clear, and finally raise a little high frequency to make the drum sound a crisper sound. At this time, listen carefully to the sound of the low drum. If there is: humming, make a fuss on the low frequency. If there is a lot of attenuation, and there is such a sound, put some sound-absorbing things in the cavity, such as a sponge. Or cotton, I personally feel that the weight of the cotton is better, such as pillows and the like. If the mixer balance has a sweep frequency, generally the low frequency 80HZ frequency band is attenuated, and the intermediate frequency 1.8K-2.5K can be improved to obtain a clear low drum sound.

Step 2: Snare drum: Let the drummer use the normal force to play the drums, adjust the sand belt, and let the snare drum sound normal first. The microphone is placed near the edge of the snare drum, about 5 cm away from the edge, and about 10 cm away from the drum skin. In the adjustment, the level is also adjusted first, no more than +4 decibels. In general, the snare drum sounds have a "tangible" sound. This is a harmonic sound, which makes the sound of the snare drum very unclean. At this time, it is necessary to attenuate a little intermediate frequency, first weaken the hall sound, and then adjust the low frequency. Generally speaking, raising a little low frequency can make the sound of the snare drum thick, but not too much, too much, and the sound of the snare drum is not good enough. Finally, raise a little high frequency and let the snare drum make a very crisp sound. In general, raising the low frequency can get a more relaxed snare drum sound, and a little boost of the intermediate frequency can get a very powerful or harder effect. The high frequency is OK as long as it does not make a sharp sound. If the hall sound is not well removed, use a piece of tape on the edge of the drum skin to glue the sponge block or something, which can effectively reduce the overtone of the snare drum.

Step 3: Hi-Hat: The microphone is placed on the edge of the hi-hat, and the height is about 5 cm away from the hi-hat cover. When tuning, first turn off the low frequency, medium frequency and low frequency. Single high frequency, first adjust the crotch is very crisp "呲呲" sound, then gradually raise a little intermediate frequency, let the hi-hat sound become real, and then raise a little low-frequency to make the hi-hat sound thick and clear, and finally add A little low frequency makes the sound feel a little full.

The fourth step: low drum, snare drum, hi-hat balance: let the drummer play the lower drum drum and the hi-hat at the same time, first push the low drum fader, after the normal position, then slowly push the snare drum When the sound of the snare drum is basically flat and the low drum is flat, pull down the low drum slightly, and let the snare drum sound a little more prominent, but don’t grab the low drum, then push the hi-hat slowly and wait for it. The sound of the hi-hat is clear enough, it is OK.

The fifth step: through the drum: the adjustment of the drum is relatively simple, as long as the sound is clear enough. The position of the microphone is the same as that of the snare drum. Generally, a low frequency is appropriately attenuated, and a low frequency is raised. The middle and high frequency and the high frequency are kept straight.

Step 6: Low pass: The low pass adjustment is similar to the low drum, except that the low frequency attenuation is larger and the sound is cleaner. The microphone is placed in the same position as the snare drum.

The seventh step: condolence: In order to obtain a relatively wide hanging sound, the general microphone is far away from the position of the condolence. I usually place it about 50 cm above the condolence. The relationship between the condolence sound and the microphone is relatively large. Generally, a condenser microphone can be used to obtain a wide-ranging effect. Adjusting the sound of the hanging is not complicated. Just do some attenuation on the low frequency to prevent the eaves from emitting a lingering reverberation. Sometimes the high frequency will be a bit harsh, as long as it is slightly attenuated.

Step 8: Find balance: Put on the drums, snare drums, and hi-hats, and slowly push the drums. When the drums are played, the sounds will come out and will not cover the hi-hats. Yes, low pass is also the same. The sound of the hanging is very large, and you don't need to push down a large position on the mixer. In this way, the tone adjustment of the drum is almost the same.

After adjusting the tone of the drum and the balance of the drum kit, if the noise gate is not used, the sound of the entire drum kit is still mixed, which is not clear enough. If the noise gate is added, the sound of each drum can be separated separately, and the entire drum kit is The sound becomes clear and crisp. The specific practices and adjustments are as follows:

1. Access noise gate: The noise gate output level is 0 dB, and the startup level of each noise gate is opened to the minimum (ie equal to ON).

2. First, play the low drum and push up the faders of all the drum kit microphones. At this time, all the drum kit microphones can receive the sound of the low drum, and the sound outside is also loud. Then adjust the noise gate activation level of the other drum channels one by one until the noise gates of the other drums are closed. At this time, only the low drum low drum channel is open, and the outer speaker should only receive the low drum microphone. the sound of.

3. Play the snare drum and see if the noise gate of the other drum channel is open at this time. If there is, increase the start level of the noise gate of the channel until the channel is closed.

4. Play each drum channel one by one to see if the noise gate of other channels is open. If there is still open, increase the noise gate activation level of that channel until it is turned off.

5. When playing a drum, only the noise gate of this channel is open, and when the noise gate of other channels is closed, the noise gate is adjusted.

After adjusting the noise gate, listen to the drummer's drumming sound. You will find that the sound of the entire drum kit is much cleaner, especially when the drum is SOLO, the sound of the drum should be clean and refreshing.

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