we all have came across the problem that once you dial drumagog in and get the snare triggering to perfection, once a snare roll is played (espically a fast one and even more so in metal/death metal drumming styles) drumagog wont trigger it (and for obvious reasons).
well im here to tell you my method that works perfectly and quickly and i think you will love it.
most people will tell you to cut the snare rolls out and put them on another track and put a gog plug on it with different settings. the problem with that is, it takes too much time to cut out the rolls, and it eats up a track voice and then you have to deal with 2 snare tracks unless you buss them togther.
well here is how i do it.
first, put the drumagog plug on the snare track then create a new audio track. now buss the snare track with the gog plug on it to the new audio track and record enable it.
you need to treat the snare just like you would a guitar part. if the guitar player is tracking a part and he messes up what do you do? you punch him in on the part that he messed up on right? well now do the same thing with the snare.
set drumagog up on your snare track so that it is tracking as perfect as you can get it then hit record and sit back and let the song play through.
once the song has played through, go back and listen for the missed triggers, loop play that section and adjust drumagog so it tracks it perfect and just punch the snare in and that is it. takes 2 minutes and is way simpler than any other method i have tried.
note=i am using the ddrum pro triggers now and it works and triggers even better.
ok everybody, how to trigger snare rolls, the fast,easy way.
- maskedman72
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Snare rolls are not just a series of low velocity snare hits, they are a sound caused by the constant drag of the stick against the head. This is why we decided to actually include snare rolls in our collection. We recommend them be placed manually, although we're interested in hearing results with Masked's posted method. Thanks Masked for the new tip, we'll try it as well.
If you are using Ddrum triggers, you should be able to set Drumagog to pick up everything by dropping the sensitivity. This shouldn't be a problem because there shouldn't be any bleed.
This clip ( OddesyeRD3Demo ) uses Drumagog on all the drum tracks and has very quiet dynamic rolls that transition into big hits when the part changes. I didn't have to do anything but set the sensitivity low enough to pick up the buzzy stuff. The original snare was mic'd, I didn't use any triggers on that project.
This clip ( OddesyeRD3Demo ) uses Drumagog on all the drum tracks and has very quiet dynamic rolls that transition into big hits when the part changes. I didn't have to do anything but set the sensitivity low enough to pick up the buzzy stuff. The original snare was mic'd, I didn't use any triggers on that project.
- maskedman72
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@ Farview - are you saying that those are 100% replacements ?
If so, thats quite incredible with a normal mic! (what snare mic did you use BTW?)
Sounds a bit strange to me with such a click-oriented BD in the first part though but I guess its the "code" of the genre.
My take on rolls is that (the short time I've used Drumagog) I hardly ever replace anything 100%. Its usually 50/50- And then set a hard compression/limiting scheme to keep the original louder hits under control/lower but let the rolls through to swell up. Then I just trigger the harder hits.
If so, thats quite incredible with a normal mic! (what snare mic did you use BTW?)
Sounds a bit strange to me with such a click-oriented BD in the first part though but I guess its the "code" of the genre.
My take on rolls is that (the short time I've used Drumagog) I hardly ever replace anything 100%. Its usually 50/50- And then set a hard compression/limiting scheme to keep the original louder hits under control/lower but let the rolls through to swell up. Then I just trigger the harder hits.
Yes. The only thing that was 'real' in that example were the overheads.Eric wrote: @ Farview - are you saying that those are 100% replacements ?
It was a 57. The main reason that it worked was because he wasn't playing much else. There wasn't too much bleed. It really helps when the drummer is controling his dynamics the way he should.Eric wrote: If so, thats quite incredible with a normal mic! (what snare mic did you use BTW?)
That's an exerpt from a 7 minute song. The rest of the song is heavy and I didn't feel like changing the kick drum for that one section. It doesn't sound as strange if you hear the entire song from start to finish.Eric wrote: Sounds a bit strange to me with such a click-oriented BD in the first part though but I guess its the "code" of the genre.
Another thing you might do is mic both the top and bottom of the snare. Use the top mic to replace and leave a little of the bottom mic in the mix for realism and to catch the ghost strokes.Eric wrote: My take on rolls is that (the short time I've used Drumagog) I hardly ever replace anything 100%. Its usually 50/50- And then set a hard compression/limiting scheme to keep the original louder hits under control/lower but let the rolls through to swell up. Then I just trigger the harder hits.
Thanks for the info
Yes - I always use both top & bottom mic.
Also, somtimes ghost strokes are nicely catched by a mono "front-mic" I usually put in front of the set, and later lopass & compress hard.
Normally I have the top mic split into two, and do a heavily gated, compressed & eq'd version of one to get the bite & snap.
But after discovering Drumagog, it seems it can kinda fill the function of the extra gate-track in a much quicker and more smooth-sounding way
(given the right samples of course)
best
Eric
Yes - I always use both top & bottom mic.
Also, somtimes ghost strokes are nicely catched by a mono "front-mic" I usually put in front of the set, and later lopass & compress hard.
Normally I have the top mic split into two, and do a heavily gated, compressed & eq'd version of one to get the bite & snap.
But after discovering Drumagog, it seems it can kinda fill the function of the extra gate-track in a much quicker and more smooth-sounding way
(given the right samples of course)
best
Eric
Auto..
Automation works great too...I usually play with the sensitivity a little.
Does any one have a good formula for Metal! Especially on "blast' beats. So hard to get it consistent and natural sounding.
Should i be using "actual peek" or "psycho acoustical"... or whatever it's called?
Thanks!
Does any one have a good formula for Metal! Especially on "blast' beats. So hard to get it consistent and natural sounding.
Should i be using "actual peek" or "psycho acoustical"... or whatever it's called?
Thanks!