Hello guys! I am Tiago!
and I am Euler.
Are you a drummer? Are you entering studio soon?
Have you thought about what you need to do?
What you need to prepare?
Or haven't you even thought about it because you think you are good AF?
You should!
We're gonna talk about some topics such as cymbals
the drumkit itself
The drumsticks you use, the drumheads you have
The drum positioning of your kit
The techniques you can use
and last but not least, the pre-production for YOUR band
TIPS FOR DRUMMERS ENTERING THE STUDIO
Entering studio without a minimal preparation can be
a very frustrating and stressing experience
to you
to your bandmates
to the sound engineer
and even more for your wallet
Being the instrument that it is, drums are a very complicated to record
and leave the sound as natural as possible
This if there's no paying attention to various details
that normally people are not aware before entering the studio
Paying attention to everything we are going to talk about
there will be no drum MIDI or programming
that can substitute the sound of a well recorded drumset
CYMBALS
Cymbals!
Yup!
That metal piece that is expensive AF :sadreactsonly:
But it will have to happen! :mercilesssmile :
Yeah, but it's still too expensive...
Unfortunately
the difference between cymbals like this
they're B8 cymbals
they're cheaper cymbals
This is not B8, this is brass
Fuck!
Even worse!
Unfortunately, the difference between cymbals like this
they're cheaper cymbals
they're really cheap
better for everyone that wants to practice
and these cymbals here
it's abysmal, it's really big
when you're starting to record
and you have all that mics, the absurd quantity of mics in the drum room
recording all those cymbals
you can really distinguish the difference between one and another
And it's exactly for that reason
that having cymbals with a far superior quality
it's a must for having a decent recording
No, you're not going to listen to a Trivium recording or something in the same genre
in which they utilized B8 cymbals
It's fucked up, the access they have to that kind of equipment it's way easier
but with that you can have the notion
of how much important is having that kind of equipment
So,
it's a must.
Nowadays, fortunately
there are a lot of ways of having access to these babies
even if you don't have the possibility of buying the whole set
for a determined drum session
You have various options, you can buy only the essentials
for example a crash and a china
or a hat and a ride
you can ask borrowed to a friend
in which you can trust each other
or you can rent to someone just like we do
Here we can listen to the difference between a high-end (B20) and a low-end (brass) cymbal.
B20 will always have a more uniform sustain and richer mids without losing the balance between the frequencies being emmited.
While the B12 or lower-end cymbals will have less sustain and volume and it will always emmit it's frequencies in a much less balanced way
(notice the ear-piercing high-frequency sound that is always there)
DRUMKIT
Now, referring to the drums in general, shells and such
normally the studios will already have good drumsets that will sound good
but in any case that you might have to take your own drumset
always pay attention to their conservation state
mainly in what concerns the tuning
because it's a real pain in the ass
being in the middle of a recording session
the sound guy simply says "that sounds like shit!"
yeah, you're gonna have to stop everything you're doing
you're gonna lose all your feeling
and you're gonna have to re-tune that shit
something that may help it's this little guy
this small thing
called "TunerFish"
basically, you put these in the lugs
and he will hold the lugs and won't let the drum detune
if like that
the drum is ok
perfect, you can use your own drums to record
just pay attention that
don't bring here your BNB (brazilian brand) drumset
thinking it will sound sound like a Tama Starclassic
that's not gonna happen
it will always reflect in the quality of your equipment
as much as you're a good player
even a LIT AF drummer playing a BNB
will sound good
but it will not sound Tama Starclassic-great because it's a more
high-end drum and with a lot more quality
Referring to the cymbal stands
if the studio doesn't have decent stands
which normally it should have
and you'll have to bring your own
Pay also attention, same way as the lugs
if the stands are sturdy enough
because another nuisance that can happen mid-recording
is that if you're hammering the cymbal
you're playing some pretty aggressive stuff
and the cymbal may start to fall because the stand
loses it's strength and doesn't hold itself
you're gonna have to stop
you're gonna lose feel and the flow of the recording
and you're gonna have to adjust it
soundcheck again to check if it sounds the same
if not you're gonna have to adjust again
make sure that the stands you bring to the studio
are good quality
or that they're sturdy, at least
DRUMSTICKS
Drumsticks,
there will be a lot of drummers saying
"Oh, i'm used to this drumstick"
ok, that's fine, each one has it's own preferences
but...
for the music genre we play
in this case we're talking about heavy music
Metal, Rock
heavy stuff
play with a 7A drumstick, which is a jazz drumstick
it's just ridiculous
you're not gonna have any power whatsoever
which is what this genre needs
which is a lot of power
You'll not even feel the drumstick coming down
Exactly.
You gotta play hard! To record this genre of music
you really need to play with a lot of strength
doesn't need to be like an ogre
but, play with enough strength to "activate" the mics
and, with a 7A, I already play hard
I couldn't ever get the sound I want
which is the sound needed for this kind of recording
My drumstick choice is the 3A.
Why?
2 reasons:
it's somewhere between the 5B and 5A
It's like it is a 5B
but with a larger "neck"
in this music genre, we use a lot of rimshots
which is to play the rim and the skin at the same time
and with a larger neck, like this one
It means that, when I'm hitting the rim
more of the drumstick will also hit the skin
which is going to produce more sound
the sound will be much more powerful and with a lot more pressure
you can really, REALLY see that
in the waves of the DAW
for example, he uses REAPER
you can really see the difference
when use a 3A drumstick, and when use a different one
And the low-end quantity is very, very different
That's why is my election drumstick
I use it for both live and studio applications
and then you have some more
it doesn't invalidate the fact of being able to use the other ones
not saying that
what I'm saying is more based on preference
and by what, in my experience
went better
that's why I am still using 3A to this day
from some years now
By hitting harder you'll "excite" the skin way more
and the shelll itself
In a good room
that'll make all the difference
I am able to get way more low frequencies in the recording
and as far as gating, I can use the gates far easily
than what would happen if a lighter stick was used
At the very very least use 5A
AT LEAST
PLZ!!! :criesinternallyindespair:
It will be a lot harder
to treat and mix the recording when they're played with lighter sticks
the lighter they are, the less transient and bottom-end I will have
You're not playing Jazz man!
At least not here
I like it a lot but...
you got to use the equipment that's..
suited for the style you're going to play
I'd never use a Metal-Crash
in a Jazz band, never in my life
not gonna happen
and I'd also never use a 3A drumstick
in a Jazz or Pop band
makes no sense.
Despite being a very exaggerated example, note that with much less stick hitting the skin
there is not enough vibration to really feel or hear the bottom end of the shell.
With a suitable drumstick and technique ( rimshot) it is possible to have much more attack, transient and bottom end
resulting in a richer a full-bodied sound that can make the room sound stand out a lot more.
DRUMHEADS
Drumheads,
as for drumheads...
DON'T show up in a studio with a drumhead like this...
NEVER! [Please don't] No!
the bare minimum and acceptable is to bring a brand new one
At least bring new heads for the snare
If you can't afford the rest
Normally in the studios that have drums
at least the toms [and kick] drumheads will be semi-new
for this music genre
the ideal type of drumhead are the 2-ply ones
which are made of 2 layers
this is because it's a heavy genre and
as we said previously, you gonna have to hammer down a lot
Otherwise you'll end up with this in... like an hour
So, the ideal is 2-ply ones
There's a lot of options
in the internet you can find the one you like most
What we recommend is always Evans Heavyweight,
which we have here
Or else, you have another good option by Aquarian
which is the triple threat that's made of THREE layers
3-ply!
It may seem absurd but
the durability really compensates
What matters a lot is the durability
and the necessity of not having to switch heads that often
but...
Also the clarity of the sound
Referring to the tuning...
Know your shit man!
The sound engineer will always be there to help you
with these kind of heads you're able to stretch them a lot more
so you can have tones within the range
you need for metal
If I want a lower pitched sound, but with more rebound
maybe the best option will really be the triple threat
cuz it's 3 layers and you can stretch it
and the pitch will still be pretty low
you can search in the internet but I will try to get some links
in the description even if some may seem a little... "outdated"
but still applicable
about some general drum tuning
that can also help you at least to have a notion
of what you need and what you can have for yourselves
and what to get and experiment
Know your shit bro! :spookyface:
DRUMKIT ORIENTATION
The cymbals are the elements most sensitive and prone to break
of your kit
playing like this... this way
as it would be a sledgehammer
will make your cymbal retain all the vibrations
of that stroke
There is a way, a technique, let's call it that
a "correct" way of hitting the cymbals
I call it the "paint brush", which is basically
to make this movement
like this in the cymbals
[ without hitting this one]
which will make so that the energy
of that stroke doesn't get retained in the cymbal
and the cymbal will like, vibrate as it should
I also have all the cymbals angled towards me
which is my ergonomic way of playing
and it facilitates a lot
a lot really
the way I am going to utilize that "paint brush" technique
There are times that unfortunately you'll not be able to utilize such technique
mainly if you're playing like...
dunno
a pretty... heavy part
mainly in the china on those breakdowns and such
won't really be easy to use that technique
but it doesn't hurt to have one more technique...
one more tip...
in our arsenal
to further extend the life of our gear that...
as I said previously it's very expensive
and we should take a lot of care about it
Referring to the angle of the drums in general
what I recommend everyone to have is the most ergonomic possible
and to be like... coherent
don't show up with those toms like that, [you watchin'?]
which you'll end up hitting the head like this
it will simply scrape it
it won't even touch the damn head [It will even make a dent most of the times]
Exactly
that doesn't work dude,
that doesn't work and for either the recording or live it's really shitty
unless you're playing like this, making the fills like this
which is completely ridiculous
and completely non-ergonomic
err... don't use that
I'm not saying to be just like what I have
my...
my kit
I mounted it for myself
not for anyone else
the height is correct for me, the posture is good for my position
for the way I play
but...
all the drummer you'll see
won't run away much from that
because it's the way you can get the best sound
from your drums
you're not gonna be able to take
this rimshot
if the snare is like this
doesn't make sense, right?
Another exaggerated example (not that much tho) but in this case demonstrating the importance of the contact between the stick and the head
Note that the difference between the volume of the hits that should be hard hits and the ghost notes it's a really little one
and that has not enough space so one can work the sound as for bleed removal (cymbals and other shells entering the snare mic).
In this one, even if it's not that exaggerated as the last, note that the effort made to pull the rimshots is still a lot
due to the angle of the snare not easily permitting a technique in which the body and tip of the stick hit the rim at the same time.
the solution then, is to incline the snare in an angle that easily permits a hit in which the contact between the tip and body of the stick and the head and rim of the snare happens at the same time
resulting in a richer sound with a more defined attack and letting the snare have punch and lets the room shine with it.
PRE-PRODUCTION
[don't bite me you bastard!]
In this last topic we're gonna talk about the pre-production and mapping in general
You're the drummer
it's your responsibility to know how the songs are structured
You're not going to arrive at the studio saying that the song is at 110 bpm
and then suddenly it should be 120 bpm
that can't happen, you need to know how the songs are structured
you're not gonna waste everybody's time, right?
Or maybe, a week later you remember that it should actually be 150 :yayyyyy:
[Turn that shit off]
[Don't call my phone shit]
We're in 2017, there's absolutely no excuse
that you can't have a little laptop, a little sound interface
and to install a little program, like REAPER for example
If you're having a lot of trouble ask your guitar player because even Guitar Pro
does the trick as far as mapping and writing your parts so you can learn them
[At least that]
I don't recommend bringing a GP file to the session
[but at least that]
:laughshisterically: :criesinternally:
Forgot to mention the importance of bringing in-ears for the session. They're easy to get by and help not letting the click bleed through the mics
[Don't scratch the mic you bastard]
Another pre-production stage that's very, very important
it's the possibility of recording yourself
before entering the studio
I'm not talking about a fancy recording
but enough so you can understand
what you're doing wrong
because it is completely different what we think we're playing
as drummers
but after recording ourselves we can verify that there are still a lot of mistakes
that most of the times we weren't able to listen to
So... I really recommend trying to record yourselves
before entering the studio
because that way you can save a lot of your time
and you can perfect a lot of spots you weren't listening to decently
without before having that little drum pre-production
in your house or in a friend's studio or where you normally practice, whatever
Even if it is with a shitty mic
as long as you can understand, that's what matters
Exactly. There's a lot of them in the market
doesn't need to be a fancy thing, as long as you can understand
what you are trying to play
and what you'll be recording, all is OK
Having said all of this, thanks a lot for checking out our video
check our page, check our videos
from this channel, Euler's channel
subscribe him, subscribe me
subscribe his band
The Voynich Code
And that's it, what else do you want to say?
That's all, pay much attention to all these topics because it
makes your lives a lot easier
our drummer lives
before entering the studio and when we are in the studio
to minimize the stress, to minimize that really immense frustration
that a drum recording session can be
but
as we said, it's worth it, it's really worth it
and that's it, thank you once again
Thank you! [LIKE!]
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