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Tight, punchy low-end with multi-band expansion
Noam Wallenberg demonstrates how to achieve a tight and punchy low-end using the Waves C6 plugin as a multi-band expander on the drum bus. By focusing on two frequency bands—below 100 Hz and between 100 to 300 Hz—he effectively controls the low-end dynamics of the drums. Initially, he is reducing the gain on these low-end frequencies with the bands make-up gain. This sets the stage for controlled expansion, allowing the kick drum to dynamically enhance the low-end only when it hits. This technique provides precise control over the low-end, enabling the engineer to adjust attack and release times for each frequency band. This ensures that the low-end is impactful yet controlled, preventing it from overwhelming the mix while adding a punchy presence to the kick drum.
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Miking a snare from the side to push the midrange
Noam Wallenberg introduces a unique miking technique to achieve a throatier, more mid-range focused snare sound by placing a Shure SM57 on the side of the snare drum. This method bypasses the usual brittle high frequencies captured by traditional under-snare miking, instead highlighting the "throaty" midrange frequencies between 600-1.5kHz. However, be mindful that this placement also picks up a wider array of sounds, including bleed from the hi-hats and kick drum.
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More sustain with a kick resonator
Noam Wallenberg demonstrates a creative miking technique to achieve more sustain and a bigger sound from a kick drum using a kick resonator setup. By placing two kick drums in sequence, the first with no front head and the second with both heads closed, Wallenberg captures the attack with an AKG D112 microphone and the body with a Bock iFet microphone. This combination allows for a controlled, punchy attack from the first drum and a resonant, sustained low-end from the second. This approach is particularly effective for sparse arrangements where the kick needs to leave a lasting impact, providing both clarity and depth without sacrificing control.