{"id":4490,"date":"2017-06-12T07:00:51","date_gmt":"2017-06-12T14:00:51","guid":{"rendered":"http:\/\/pro.harman.com\/insights\/?p=4490"},"modified":"2017-06-08T12:02:37","modified_gmt":"2017-06-08T19:02:37","slug":"inside-the-grammy-museum-with-david-trau-part-3-mixing-bass-and-drums","status":"publish","type":"post","link":"https:\/\/pro.harman.com\/insights\/enterprise\/hospitality\/inside-the-grammy-museum-with-david-trau-part-3-mixing-bass-and-drums\/","title":{"rendered":"Inside the GRAMMY Museum with David Trau, Part 3: Mixing Bass and Drums"},"content":{"rendered":"

Welcome to part three of our Inside the GRAMMY Museum<\/em> blog series with David Trau, head engineer at the museum\u2019s Clive Davis Theater. If you missed part one<\/a> and part two<\/a>, take a few minutes and learn how Trau approaches live vocals and acoustic guitar.<\/p>\n

As head engineer, David is responsible for running sound for some of the most celebrated bands and artists in the world. On any given day, he might be working with Brian Adams, Dion, Graham Nash, Weezer\u2014the list goes on. Many of the performances at the theater are acoustic, but it\u2019s not uncommon for performances to feature a full rhythm section. Due to the venue\u2019s small size\u2014it seats 200 people\u2014it\u2019s important for David to get a tight and controllable drum and bass sound to avoid overwhelming the other instruments onstage. We sat down with David to learn about some of his favorite microphone choices for bass and drums as well as some of his favorite tips and tricks for mixing.<\/p>\n

Bass Guitar<\/strong><\/p>\n

\"The

The band Wolfmother performs live at the Clive David Theater<\/p><\/div>\n

Bass is pretty straightforward\u2014I prefer to use a DI, and I like a low, deep bass sound with some high- mid articulation. I always try and use a DI signal from the back of a great sounding amp but will grab the signal directly out of the pedal board if the amp is substandard. I use mild EQ to carve out a little bit of room in the lows for the kick drum. For compression, I use a 3:1 ratio, a mildly fast attack of 12-15 milliseconds and a 60\u2013100 millisecond release, depending on how smooth I want it to sound. I don\u2019t want to compress the initial attack\u2014I just want to tighten the main part of the transient response (or the impact of the note) to create sustain. <\/em><\/p>\n

Kick<\/strong><\/p>\n

Anytime there\u2019s a hole in the kick drum, I like to place an <\/em>AKG D12 VR<\/em><\/a>,\u00a0so half of the mic is just past the front head and angled toward the beater\u2014with the mic pointed slightly toward the bottom corner of the shell. I compress the signal and try and find the transient to get a really good thump that you can feel in your chest. <\/em><\/p>\n

Snare<\/strong><\/p>\n

\"The

The band Le Butcherettes performs live at the Clive David Theater<\/p><\/div>\n

I use a cardioid dynamic microphone on the top of the snare and a supercardioid dynamic on the bottom of the snare. It\u2019s very much a studio technique\u2014it allows me to get a lot of clarity from the bottom of the snares as well as the fat and punchy sound from the top. By blending them together, I can create a fuller sound than either mic alone. The bottom mic also gives the snare some isolation from the hi-hat. I can also use transient compression to lengthen or shorten the sound. <\/em><\/p>\n

Hi-Hat<\/strong><\/p>\n

I really like the attack of the hi-hat, so I try and angle an <\/em>AKG C41 B<\/em><\/a> small-diaphragm condenser to capture some of the stick sound. Then it\u2019s just a matter of keeping the mic out of the way, while avoiding drum wedges. <\/em><\/p>\n

Overheads<\/strong><\/p>\n

I place two <\/em>AKG C414 XLS<\/em><\/a> condenser mics about a foot and a half over the kit and close to the symbols, since there\u2019s so much bleed anyway. I try and use them to supplement the overall sound, so they stay pretty low in the mix. <\/em><\/p>\n

Stereo Image<\/strong><\/p>\n

When I\u2019m mic\u2019ing drums, I always try to keep the stereo image in mind. Every microphone shifts the placement of the drums in the stereo field a little based on the type of microphone and its placement. My main concern is to ensure the snare stays centered and focused when I bring up all of the drums in the mix. To help accomplish this, I make sure that when I place the mics, I do my best to draw an imaginary line from every drum mic to the snare. If the snare is centered in the placement, it will also be centered in the mix, creating an overall tighter, more-focused sound.<\/em><\/p>\n

Stay tuned for part four of Inside the GRAMMY Museum<\/em> to hear stories about some of Trau\u2019s favorite performances at the Clive Davis Theater.<\/p>\n","protected":false},"excerpt":{"rendered":"

Welcome to part three of our Inside the GRAMMY Museum blog series with David Trau, head engineer at the museum\u2019s Clive Davis Theater. If you missed part one and part two, take a few minutes and learn how Trau approaches live vocals and acoustic guitar.
CONTINUE READING<\/a>","protected":false},"author":24,"featured_media":4493,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[24,9],"tags":[],"application":[],"avlc":[],"brand":[],"product-category":[],"class_list":["post-4490","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","category-hospitality"],"acf":[],"yoast_head":"\nInside the GRAMMY Museum with David Trau, Part 3: Mixing Bass and Drums - HARMAN Professional Solutions Insights<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pro.harman.com\/insights\/enterprise\/hospitality\/inside-the-grammy-museum-with-david-trau-part-3-mixing-bass-and-drums\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Inside the GRAMMY Museum with David Trau, Part 3: Mixing Bass and Drums\" \/>\n<meta property=\"og:description\" content=\"Welcome to part three of our Inside the GRAMMY Museum blog series with David Trau, head engineer at the museum\u2019s Clive Davis Theater. 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