Liquid Metal Guitars present the LMG "T".A good drum synth is the way to go! Anything it might lack in perfectly realistic sound, it makes up for in the ability to tweak it to sound better. The amount of damage done by the EQ is so small that it's not worth worrying about in the greater scheme of the overall mix, where the cymbals are going to be nothing but a small part of the mix and pretty much in the background anyway. On the cymbal example, if the choice is a pure and unadulterated gongy, annoying literal cymbal recording and a very minutely degraded EQ'd track that really fits into the mix and sounds great, it's not really even a choice to have to think about. True, but the issue is that you are comparing a tiny bit of degredation relative to the enormous improvements that EQ provides.
Along with the known deficiencies of EQ this is the genesis of the cut only philosophy of eqing. But remeber that the ear is most sensitive in the range from 2-4k, and human hearing is very sensitive to phase changes. It is not always a readily apparent degradation. They have no idea what it sounded like in the studio, and probablh wouldn't want to hear what it sounded like in the studio anyway, since that usually isn't very much like what you want to end up going out the door.Īll eq degrades the signal. The point was that cymbals are such that no one is going to notice the wee bit of damage that a good EQ is going to do on a cymbal. But remeber that the ear is most sensitive in the range from 2-4k, and human hearing is very sensitive to phase changes.Īlong with the known deficiencies of EQ this is the genesis of the cut only philosophy of eqing.Īs far as cymbals being white noise, this is not true. But because they are resonating plates they behave very strangely and do not follow the familiar harmonic nodes that guitars, brass instruments etc do.ĮG a thinner plate resonater has a lower pitch, thicker has higher pitch.Īll eq degrades the signal. They have harmonic structure and periodicity. I wish I could more often!ĭrum kits with their dozen mics are terrible for phase coherency, especially so on the cymbals which get in everything and are predominantly mid/high freqs.Īs far as cymbals being white noise, this is not true. On some productions they record the cymbals seperately. If you are trying to get a realistic representation of the drum kit than tread more lightly.Īs pointed out above. If you are going for a pop mix than you can kill the daylights out of the cymbals.
The 'damage' is miniscule relative to the benefits. They are all EQ'd in some way or another on everythng you hear, so it's just not something to worry about, IMO. For that matter that applies to pretty much any instrument. It's practically white noise anyway, and no one is going to notice any wee bit of distortion or phasing from EQing them. I don't think there's much to worry about with EQ'ing cymbals. Or don't even record any cymbals in the initial take, though that could be really disorienting for the drummer I guess to not have any cymbals to play. It would be a serious pain to recreate the cymbal hits in the same places to match the original performance, but the results could be worth it. I've read that some folks, even with real drummers, will go back and re-record the cymbal hits separately so that have that control, and then you could do what I indicated above, which is just roll off most of the cymbals out of the overheads and use the narrowly passed directs for the sizzle. The rest of it is horrible, gongy, grating frequency poop really :-) So just keeping a very narrow band of the cymbals, around that 8KHz to 12Khz range, really sounds nice and just provides that airy sizzle on the top.īut I guess you can't really do that unless you have separate, clean cymbal tracks. If you listen to pretty much all well product pop/rock records, nothing is kept of the cymbal but the sizzle, and it works out very well that way. To me, the thing is that the bulk of the entire frequency range of a cymbal is useless, and you don't want it.
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