On Fri, Jun 11, 2004 at 02:17:06PM -0700, R Parker wrote: > Are three volume/dynamic samples for every single > sound enough for a sequence to achieve or get close > enough to the dynamics of a live player? Does anyone > know how the commercial drum libraries are produced? > Maybe we need five volume/dynamic samples for every > sound. I dunno how many you'll need, but I think the two hardest things in the kit will be hi-hat and snare, because they sound so different depending on how you play them. > Stereo Image > I'm interested in knowing what people think is the > best solution for achieving live sounding stereo > imaging. I've spent several days recording test sounds > and conlcuded that some instruments are probably best > treated as stereo samples. Dry (no reverb) snare drums > can potentially be mono tracks but I suspect cymbals > must be stereo. +1. > The cymbal recording strategy will be to form a > somewhat natural semicircle and possibly use an X/Y > mic pattern. Ever tried M/S? I haven't (don't have suitable mics) but I've heard some nice overheads done that way. > Snare drums might achieve live sounding stereo imaging > from 1 in 2 out reverbs. In addition to dry mono snare > drums, we intend to produce a number of reverb > processed (wet) stereo samples. I tend to think that the sound of the whole kit includes the various bleeds and resonances: e.g. toms and snare bleeding into overheads. I'd be inclined to keep the mic positions constant once you get your sound locked down, and leave at least the overheads mixed in to the close mics when you're recording individual hits. This may help the whole thing "gel". -- Paul Winkler http://www.slinkp.com
