I seem to remember people saying Joe Baresi takes that approach of keying up the musicians, almost to the point of antagonising them, to get on-point performances. If so, I guess that for him, that approach can work. His records sound amazing, with great performances. Was thinking the same about drums. By the time you get to Tama Starclassic, or similar (s/h Gretsch Renown, Ludwig Classic), they're plenty good enough to do great recordings with. With the right heads, tuning, room ... and player. Snares and cymbals are more of the fine points, and snare selection is highly context dependent. I use Soyuz 013s as overheads, a bit darker than 184s, but I use K Dark cymbals. On the LDC thing, I sometimes use EB 414s, and I like those too, clear but somehow not too bright. I have a set of bright cymbals, with those I like Beyerdynamic m160s.
About drummer wanting to really play on the click, it is my case indeed. But I really pay attention to the first time I play a new track with the click. If there is a part where i'm a little late or early from the click, it means I feel it that way and I don't need to edit because the songs need that little change.
for me i'd prefer the drum performance to be as tight as possible while still leaving wiggle room for other instruments than the other way around, imo sounds more natural that way.
I know what you mean. You can get away with more timing issues on the other instruments with hypertight drums. I record a lot of fast stuff though. And here the hypertight editing puts me off more and more. Gets very clinical and boring quickly.
Craig double checked some of the mic placements but then just sent his session, Nolly mixed it and Craig bought whatever plugins Nolly used and then that’s it
Great video. LISTENING critically to each individual track for a few seconds may identify a noise/distraction. For example, a hi hat pedal needing to be oiled up. Caught it early in the very recording thankfully.
I know it may not be what was said at the 'microphones' chapter, but as it got ambiguous, this is my 2 cents. Tuning in drums (and you can use the same case to cymbal choices also) interferes directly on how drums project and most important: it's about style, you'll never have a snare projecting strong and loud when you tune it low and has it muffled in comparison to a medium high rocking rimshots. This may imply different fader balances and eq moves as you change tuning, drumheads and snarewires to fit the style you're after, because it sound different at every different tuning, but with different drum tunings you'll never end up with similar results.
I hope some bands, producers, engineers come in and absolutely smash the current decade long trend of this Prog Metal Drum sound. Crushed to death and Boring for a decade.
Kohle wants his drummers to be consistent but than makes fun of someone for using a vibrating metronome to keep the time...ok 🤔 (They also make things like this that you can wear on your wrist or arm, btw).
Don't you think the Pal/NTSC format should hit the small/big drum rig topic, as well as the 44,1/48 Khz sampling rates, not to call out floating 32 bit recording?! Safe and Sound, nice talks. Songs, on a drum set? I've thought those were beats. Not to mention how many folks in a band could play the same drums. I don't know. Namastè.
Need more NOLLY? Check out his course here:
➡www.kohleaudiokult.com/courses/Nolly 🤘
Superb video again from Nolly and Kristian! Loved every second of this video!
Nolly got that perfect head shape man
for real, he fuckin rocks the bald
Ha!
That's where the tone comes from. Not the same tonewood, pickups or speakers. 🤣
the tone is in the dome
The perfect dome 😂
2 gigantic engineers 🤘
Few hair but a lot of humility..
And the big secret : The passion !
A ton of great drum nollydge
How could I not come up with that word so far. Damn! 🥳🙀
Not even mad
Great info!
Nolly, through experience, knows his shit!!! Respect!
Informative and inspiring. Thank you
Thank you two for sharing your rich experience ! You're awesome guys \m/
Our pleasure!
I seem to remember people saying Joe Baresi takes that approach of keying up the musicians, almost to the point of antagonising them, to get on-point performances. If so, I guess that for him, that approach can work. His records sound amazing, with great performances. Was thinking the same about drums. By the time you get to Tama Starclassic, or similar (s/h Gretsch Renown, Ludwig Classic), they're plenty good enough to do great recordings with. With the right heads, tuning, room ... and player. Snares and cymbals are more of the fine points, and snare selection is highly context dependent. I use Soyuz 013s as overheads, a bit darker than 184s, but I use K Dark cymbals. On the LDC thing, I sometimes use EB 414s, and I like those too, clear but somehow not too bright. I have a set of bright cymbals, with those I like Beyerdynamic m160s.
Best combo on this planet 🔥
enjoyed it so much
I hope Nolly get involved in more content for the Kvlt! Would be awesome having him for a mixing ritual!
I’ll work on it!
Thanks gentlemen!
Our pleasure!
I've only bought 2 other courses before. Looks like this will be number 3!
So what is the beat detective equivalent in Logic or Cubase?
We were talking about manual editing.
Cubase does have something like that.
Don’t think there’s a fancy name for it. I don’t use it though.
Great chat
About drummer wanting to really play on the click, it is my case indeed. But I really pay attention to the first time I play a new track with the click. If there is a part where i'm a little late or early from the click, it means I feel it that way and I don't need to edit because the songs need that little change.
Nozzy rocks!
nOzzy Osbourne?
Nolly is great because he really pays attention to even the smallest details. Not many mixers can tune a drum. Lol
That's something I learned right form the start. Because most drummers can't...
Nolly is king. Change my mind.
that was excellent, tank you! and yes, throne sub kicks are a sex toy!
kreat kohle kontent konversation! 🤘🔥
Thanks man! I'm also happy you added the fourth K-word!
You all could have easily talked drums for another hour and I'd be all in. Thanks fellas!
I’ve got another 45 minutes of us talking. Maybe something for the academy?
@@KohleAudioKult 👍
Nolly has so much knowledge. "Nollydge"😂
🤪
for me i'd prefer the drum performance to be as tight as possible while still leaving wiggle room for other instruments than the other way around, imo sounds more natural that way.
I know what you mean. You can get away with more timing issues on the other instruments with hypertight drums. I record a lot of fast stuff though. And here the hypertight editing puts me off more and more. Gets very clinical and boring quickly.
Did nolly set up the drums for craig reynolds livestream? They sounded so good
I don’t know about the setup (I imagine they worked together on that), but he gave Craig a custom mix template that he is now playing through.
Craig double checked some of the mic placements but then just sent his session, Nolly mixed it and Craig bought whatever plugins Nolly used and then that’s it
Great video. LISTENING critically to each individual track for a few seconds may identify a noise/distraction. For example, a hi hat pedal needing to be oiled up. Caught it early in the very recording thankfully.
🔥
nollynollynollynollynollynolly
I know it may not be what was said at the 'microphones' chapter, but as it got ambiguous, this is my 2 cents.
Tuning in drums (and you can use the same case to cymbal choices also) interferes directly on how drums project and most important: it's about style, you'll never have a snare projecting strong and loud when you tune it low and has it muffled in comparison to a medium high rocking rimshots. This may imply different fader balances and eq moves as you change tuning, drumheads and snarewires to fit the style you're after, because it sound different at every different tuning, but with different drum tunings you'll never end up with similar results.
I hope some bands, producers, engineers come in and absolutely smash the current decade long trend of this Prog Metal Drum sound. Crushed to death and Boring for a decade.
Kohle wants his drummers to be consistent but than makes fun of someone for using a vibrating metronome to keep the time...ok 🤔 (They also make things like this that you can wear on your wrist or arm, btw).
It's not a metronome. It's a monitor for bass frequencies that makes you feel the low end.
And don't get me wrong. That thing was quite impressive!
Don't you think the Pal/NTSC format should hit the small/big drum rig topic, as well as the 44,1/48 Khz sampling rates, not to call out floating 32 bit recording?! Safe and Sound, nice talks. Songs, on a drum set? I've thought those were beats. Not to mention how many folks in a band could play the same drums. I don't know. Namastè.