As Mike C implies, the thing to consider is what will happen if you use AMM for your drum channels.
The D-Classic algorithm used by Qu shares an amount of gain across all channels in the AMM.
This gain is then allocated to the channel with the highest incoming level, the calculation of which can be offset using the ‘priority’ for each channel (which can also be thought of as the contribution to the calculation). Meaning in a spoken word situation, you could increase the priority of, say, the chairperson so they could speak over others, or perhaps someone with a softer voice to help prevent them being spoken over.
The main benefits of the AMM are a reduction in background noise and reduced possibility of feedback. The latter especially in situations with multiples of the same mic and therefore duplication of the same frequency response with the background noise – which can mean the same frequencies are more prevalent = feedback.
With drums, what could make it sound weird with AMM engaged is that you have times where one drum is hit and then other times when that drum and another would be hit (and so on up to 4 I guess!).
In the first case, you’d get the single drum at 100% level. In the second, you’d get each drum at 50% and so the natural dynamics of the playing of each drum could be off every beat!
Further to this, any decay of drums or cymbals being picked up in mics not triggering the AMM would immediately and drastically be cut in level when another channel comes in.
But I agree, it could sound cool!
It just won’t automatically mix the drums into a ‘standard’ drum sound as one might understandably imagine from just the feature name.
Cheers,
Keith.
( @markpaman – I’m hoping for the band at the first gig back being so happy to play that they’ll just run the whole show a few times for us to mix a bunch of different ways 🙂 )
KeithJ A&H 2 years, 11 months ago.
