This is one of those ‘I wouldn’t start from here’ moments…
If I was
mic’ing a kit with just a pair of overheads and two kick mic’s I would be finding the
balance at source, not looking for it afterwards. Such a low mic count represents a
commitment to a sound such that 95% of my drum mix would come from the overheads, with
just a little of the kick mic’s to help out – and likely not gated at all.
There’s a lot to be said for letting the drum mic’s breath and sing, rather than
trying to clamp down on every bit of spill. Over time I’ve found myself gating less and
less and when I do gate/expand I may just lift the louder signals 3/4dB out of the melee
for the important backbeat.
So your examples (sorry, I can’t access them
here) aren’t the kind of start I’d make for creative gating!
All that said,
I understand that you are simply using this as an opportunity to experiment, so with that
For the kick…
You would typically find that there is
less spill on the inner kick mic, so I might use that to provide the trigger signal for
the outer mic’s gate. You can get heavy with filters/EQ (or even expansion) on the
trigger signal until you get something that opens the gate cleanly.
also get tricky with the trigger signal, maybe pulling it a tiny amount ahead to let the
attack of the outer mic get through unscathed.
For the snare…
Whatever you do with the snare is going to be a bit (lot!) of a compromise. My first
approach might be to see if I can find a filter/trigger/gate setting that only opens with
the body of the snare signal, but I suspect that this will be a fruitless task if the
spill is as bad as you say.
Even if you do manage to find the sweet spot for
the gate I imagine the result will sound quite lumpy. At that point I’d be looking at a
Hope something here helps.
An Eagle for an Emperor, A Kestrel for a Knave.