#1
Hey guys just kinda looking for some opinions here in regards to editing drum waves. Now my band is recording an album and I'm engineering it but this is my first time properly tracking drums as opposed to samples or a dual mic setup. Now my question is, when your cleaning up the tracks, do you cut out the ambient noise of the unused drum mics. For example, say if your had 4 bars that was just kick, snare, hi hat, would you edit out the ambient pick up of the tom mics?

I'm sure there's probably people who do that or just leave it all in, but I guess I'm just looking for a general consensus and maybe the pros/cons of doing it or not.

Thanks in advance.
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#2
I think you generally want to leave it in, but you can experiment and do it however you want. It also depends on what/how youre mixing.

If you leave it all in and dont do any sort of processing, i think your drums will sound more open, organic, natural and room-ey. This is probably good for more chill types of music, lighte rock, indie rock, alternative, ect.
You could get specific about what you process- i.e, use gating on your kick drum to make it sound more direct/in your face and clean. Also use hi passes on overheads or other mics to cut out a lot of the other pieces that the mics pick up.

Or you could do it your way, and gate / chop out the drums you dont want- this will make it sound very direct- but my personal opinion is to use a combination of "openess/left alone" and some gating/process on kick/snare and OHs.

Good luck!
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#4
Alright thanks for the advice guys, I'll do some experimenting both ways and go from there.
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#5
Personally I would never cut anything out of the ambient/overhead mics because picking up everything is exactly what they are there for. It is quite common to strip the bleed from tom tracks because they are generally used very rarely and there isn't going to be a whole lot of useable bleed during parts when they are not used.
#6
From my experience it's usually common practice to clean up the toms so all you have is the actual hit. I've kept them in when in a pinch, but usualyl if I'm doing a proper edit I'll gut all the extra noise. That way your compression and eq is only effecting the tom hits themselves, especially if you need to do durastic tweeting to them.

Same with the sub kick.. No need to boost the lows on any other noises it could have picked up(if you're close micing)
#7
You can eq out mostly the lows and mids out of the OH if you want to use more of the close mics.
Honestly from what I've seen a great drummer and a good kit sound fantastic, you can hardly screw that up on a session. If it sounds bad in the room, most likely it'll end up bad on record unless you augment with triggers, sample replacement.
Make sure you get a good set of samples from the session for sound replacement. Run a new track with your final drum setup the way you're tracking. Record low, mid, loud kick and snare, record each cymbal and tom hits and maybe few combo creashes like kick+2 cymbals together in case you need to edit parts for more impact or drummer errors.

Editing - there's 2 main approaches for rock and metal, either close miked where you eq overheads just to leave cymbals or use overheads and room mics for main sound and just bring in a touch of close mics into the mix for more impact.
#8
select the track that contains the split regions and use the select next region, set locators by regions and go to left locator key commands to move the playhead referred to as the spl or song position line before logic to the start of each of the newly split regions. if you then click on the regions that are assigned to the group, that will select them all and you can use the split regions at played key command to cut all the regions in that group. once all your tracks are sliced as required you can group them to make sure they stay together when you move or quantise them-but don't forget to add the guide regions to the group as well.