Mix with the Masters
Add character and depth with tape delay
Russell Elevado shows how tape delay can be used to add character and depth to drum tracks. By applying a subtle quarter note delay, the drums gain a dirty quality and an airy presence, making the delay feel like an integral part of the drum sound rather than an obvious effect. The technique involves dialing in the tape echo to a desired setting and then printing it, which means recording the effect to a track. This approach not only preserves the tape but also ensures consistency throughout the song without continuously running the tape echo. Using tape delays on drums is a great way to enhance the rhythmic texture and atmosphere of a mix.
Elysia
Adding grit to drums with the "Wurst" mic
Moses Schneider demonstrates how to add character and texture to drum recordings using a unique approach with the "Wurst" technique. He employs saturation through distortion pedals and strategically places microphones, such as the SM57 and a custom-built Periscope mic with an inbuilt limiter, to capture a larger-than-life drum sound. The key is positioning the mic equidistant from the snare and kick beater for optimal tone. Schneider further enhances the drum sound by gating and over-compressing with an 1176 compressor, creating a dynamic and textured drum mix. The Periscope mic's inherent distortion and side-chained gating to the snare add a distinct character, making the drums stand out in the mix.
Splice
Glueing hi-hats to the beat with sidechain distortion
Vaughn Oliver explores the use of the Zef Parisoto FLVTTER plugin to apply sidechain distortion to hi-hats, creating a more coherent and glued-together sound. By setting the sidechain input to a low-end signal like a kick or 808, the plugin distorts the high-end elements, such as hi-hats, based on the low-end input. This technique not only adds a unique character but also subtly dips the volume, enhancing the cohesion between the elements. Oliver highlights the versatility of the FLVTTER plugin, noting its ability to emulate the sound of slamming elements into a master clipper, akin to techniques used in FL.
Produce Like A Pro
Playing shakers and tambourines with swing
Ash Soan shares a playing technique for adding swing to shakers and tambourines by leveraging the natural physics of the instruments. For shakers, instead of forcing a swing feel, Soan suggests playing straight 16th or 8th notes while adjusting your forearm position to control the swing. When the forearm is up, the shaker moves horizontally, resulting in no swing. By lowering the forearm so the shaker moves more vertically, gravity naturally introduces a swing. Any position in between allows you to find a sweet spot that is neither fully swung nor completely straight. This approach also applies to tambourines, where playing it left to right results in no swing, while moving it up and down allows gravity to create a full swing.
Audiopunks
Using character mics while tracking to inspire drummers
Tchad Blake shares insights into using effects like distortion and compression while tracking drums to inspire drummers and enhance their performance. By sending processed sounds back to the musicians, such as a Spectrasonics 610 compressor or delay on the snare, drummers can react to the altered textures and rhythms, leading to more dynamic and expressive playing. Blake emphasizes the importance of creating characterful sounds and textures, which can transform the way musicians interact with their instruments. This approach encourages drummers to play differently, adding a unique groove and feel to the music. The use of contrasting hi-fi and lo-fi elements can infuse a track with depth and character, reducing the need for excessive overdubs. Incorporating these techniques into the recording process not only enhances the creative atmosphere in the studio but also results in more authentic and engaging music. By creatively placing mics and using effects, engineers can create a rich sonic landscape that inspires musicians to explore new musical expressions.
HAND
Tempo manipulation basics - DIY tape delay
HAND delves into the basics of tempo manipulation using tape loops, focusing on adding character and movement to electronic drum rhythms. Utilizing the Uher Report 4000, HAND demonstrates how tape looping and delay can create more interesting and dynamic soundscapes. The segment includes an analysis of signal records and monitor output, particularly examining speed stacks and delays. The discussion highlights the practical aspects of delayed releases and tempo adjustments in music production, emphasizing the intersection of music quality and physics. For a deeper understanding, viewers are encouraged to watch the video for further insights.
Reverb.com
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.
Splice
Programming organic, punchy kick and 808 grooves
Vaughn Oliver demonstrates how to perfect kick dynamics using manual ghost notes and phase alignment techniques in Ableton Live. By adjusting the decay and attack of the kick drum through volume automation and fades, he creates a more natural and organic feel, mimicking the dynamics of a real kick drum. He also employs sidechain compression with the Cableguys ShaperBox plugin to achieve a punchy and tight low-end, ensuring the kick and 808 bass are perfectly in phase.
Splice
Reducing ambience with Ableton's multiband dynamics
Vaughn Oliver demonstrates the power of Ableton Live's Multiband Dynamics plugin for reducing ambience in percussion and drum tracks. He highlights the often-overlooked 'reduce ambience' preset, which acts like a gate to tighten up sounds by selectively controlling different frequency bands. This technique is particularly useful for cleaning up loops with excessive noise or reverb, allowing you to target specific areas like the low-end decay of a snare while preserving the high-end. Oliver encourages exploring stock presets within your DAW before turning to third-party plugins, as they can offer surprisingly effective solutions for noise reduction and gating. By experimenting with these presets, you can unlock powerful processing capabilities without additional costs.
Produce Like A Pro
Bold pre-tape EQ shaping for kick and snare
Darrell Thorp enhances the kick and snare using API 550A and Pultec EQP-1A hardware EQs, focusing on achieving a bigger, more present sound with added weight. He emphasizes the importance of pre-tape EQ, not shying away from heavily shaping the signals directly on the board to achieve the desired sound. For the kick, Thorp employs a Neumann U 47 fet microphone placed inside the drum, preferring a close-miking technique to capture the full body of the sound. He boosts 6dB at 100Hz and 10kHz, and adds 4dB at 3kHz for presence, using the API 550A to shape the low-end and high-end, while the Pultec EQP-1A adds thickness and brightness. On the snare, a Shure SM57 captures the top, with Thorp applying 9dB at 10kHz and 2dB at 100Hz using the API 550A, complemented by a Pultec boost at 10kHz for silky air. The snare bottom, also miked with an SM57, receives a 6dB boost at 10kHz, ensuring a cohesive, well-defined snare sound. Thorp's approach demonstrates confidence in using EQ aggressively during the recording phase to craft a polished sound before it even hits the tape.
Produce Like A Pro
Adding character with mono overhead and poke mic
Darrell Thorp demonstrates how to add character and depth to drum recordings using a mono overhead and a "poke" mic. By employing the Coles 4038 as a mono overhead, he captures a fuller drum sound, enhancing the snare's presence and overall kit depth. Thorp uses the UREI 1176LN for compression and the Pultec EQP-1A for EQ, boosting at 10kHz and 100Hz to add thickness and brightness. For added character, Thorp introduces distortion to the mono overhead using the Overstayer Saturator NT-02A, creating a trashy yet controlled sound. He also utilizes a Sennheiser MD 441-U as a "poke" mic, positioned to capture the kick and snare, and processes it with a DBX 160VU for punchiness. Aggressive EQ boosts at 7kHz and 50Hz further enhance the mic's impact, providing an aggressive knock that cuts through the mix. Thorp emphasizes the importance of phase coherence, ensuring it is as good as possible during recording. He suggests using Auto Align by Sound Radix during mixing to align these special mics with the rest of the kit. He encourages engineers to embrace aggressive EQ during recording, as it can significantly enhance the character and depth of the drum sound.
Puremix
Add depth and punch with a mono kit mic
Greg Wells shares his approach for adding depth and character to drum recordings using a mono kit mic, inspired by Eric Valentine. By positioning a mic like a U47 horizontally over the kick drum, angled towards the beater, Wells captures a focused, punchy sound. He enhances this mono mic signal with EQ and compression, adding low-end frequencies around 60-100 Hz and using compressors like a 1176, Distressor or LA-2A to squash the signal liberally. This processing creates a sound that, while potentially unusable on its own, blends beautifully with the rest of the drum kit to add weight and depth. Wells emphasizes the unique quality of mono mics, which can be cranked without becoming overwhelming, maintaining focus and clarity. They are particularly effective for enhancing the low-end of the kick drum, snare, and toms, providing a rich, full-bodied drum sound.
URM Academy
Sidechaining for a bigger snare room
In this session, Dan Braunstein focuses on using sidechain compression to enhance the snare room sound in a mix. He demonstrates how adjusting the attack and release settings on the sidechained compressor allows the snare's decay to shine through. The key is going for a longer attack time, so that the ducking makes room for the snare's decay rather than the initial snap. Dan sets up the sidechain to duck bass and guitars when the snare hits, allowing the room sound to pop through. Dan suggests sourcing the sidechain signal from the most direct snare track rather than the entire snare group, ensuring that the room's ambiance is effectively highlighted without overwhelming the mix. This approach is part of his broader strategy to make drums punch through the mix with clarity and presence.
URM Academy
Making kicks punchy with sidechain compression
Dan Braunstein demonstrates how to achieve a punchy kick and better separation in a mix using sidechain compression with the FabFilter Pro-C 2 on bass. By sending the kick signal to the compressor's sidechain input, Braunstein ensures that the bass ducks out of the way, allowing the kick to cut through the mix with clarity and impact. He starts with extreme settings and dials them back to achieve 3-6 dB of gain reduction. This technique enhances the mix's overall movement and clarity, making the kick more prominent without overwhelming other elements. Braunstein also uses the FabFilter Pro-Q 3 to EQ the kick and bass, deciding whether the bass should occupy the sub frequencies and the kick the low mids, or vice versa. He ultimately prefers the kick to dominate the low end, giving the bass more harmonic presence. This strategic frequency separation reduces muddiness and enhances the mix's overall balance.
URM Academy
Using Trackspacer for punchier drums
Joey Sturgis demonstrates using Wavesfactory Trackspacer to achieve punchier drums by enhancing the kick and snare's presence in a mix. Inspired by the key spikes technique, Sturgis creates "Track Spacer Blips" by sending ultra-short, one-millisecond bursts of the kick and snare to a sidechain input on Trackspacer. This setup allows the plugin to duck the rest of the mix momentarily, giving the kick and snare a clear, focused moment to shine. By setting the Trackspacer's attack and release to the fastest possible settings and adjusting the effect to around 4-5%, Sturgis ensures the effect remains subtle yet impactful, especially on small speakers. This technique prevents frequency masking, allowing the kick and snare to cut through the mix without overpowering it, resulting in a competitive drum sound.
Mix with the Masters
Sidechaining kick and 808: Clean low end, loud mixes
Jaycen Joshua demonstrates the power of sidechain compression and multi-band compression to achieve a clean and loud low-end mix, particularly when working with bass, kick, and 808 elements. By using the Oeksound Soothe plugin, he effectively controls unwanted frequencies and ensures clarity and separation between these low-end components. Joshua emphasizes the importance of identifying the main kick drum and removing unnecessary layers to avoid clutter. He duplicates the kick track, placing it just below the bass, and uses it to trigger the sidechain compression, allowing the bass to dip subtly when the kick hits. This technique not only prevents frequency masking but also gains additional headroom, making the mix louder without sacrificing quality. He also highlights the versatility of sidechain compression across genres, from subtle applications to more pronounced effects in EDM.
GGD
Using Saturn's dynamics to tame cymbal bleed
Adam 'Nolly' Getgood demonstrates using FabFilter Saturn's dynamics to effectively reduce cymbal bleed on snare tracks. Inspired by Eric Valentine's approach to high-frequency saturation, Nolly applies Saturn's multi-band expansion to gate high frequencies above 1K, significantly minimizing cymbal bleed while maintaining the snare's attack and presence. During a live recording session, Nolly discovered that Saturn's dynamics knob could intelligently manage bleed without introducing latency or compromising the snare's character. He provides an A/B comparison to showcase the dramatic difference, highlighting how this technique enhances the snare's clarity in a mix. Nolly also explores Saturn's potential as a multiband channel strip, using it to adjust the snare's tonal balance during tracking sessions. By setting the crossover at 1K and fine-tuning the dynamics, he achieves a natural, present snare sound with reduced bleed, demonstrating Saturn's versatility in both mixing and tracking scenarios.
URM Academy
Low-end clarity through kick-bass sidechaining
Will Carson demonstrates his approach to using sidechain compression in the low-end, drawing inspiration from Jason Joshua, to craft a powerful, punchy low-end while maximizing headroom and loudness. By applying the Oeksound Soothe plugin on the bass bus and all low-end elements like 808s, Carson ensures the kick drum cuts through the mix. This technique ducks the bass whenever the kick hits, allowing the sub frequencies of the kick to dominate without overwhelming the mix, thus preventing muddiness. This method is essential for achieving a punchy, clear low-end that feels substantial without actually increasing the low-end content, optimizing headroom and overall loudness in the mix.
Tape Notes Podcast
Small variations, big impact: Four Tet's drum sequencing
Four Tet demonstrates how to create dynamic drum loops by introducing subtle dropouts and manual variations in sequencing. By deleting a few kick drums here and there, he ensures the loop feels fresh and less static, keeping the listener engaged without dramatic changes. He emphasizes the importance of non-repetitive sequencing and automation to make tracks more interesting. Subtle variations, such as these dropouts, refresh the loop, making it feel like it's constantly resetting and starting anew. Additionally, by manually adjusting parameters like the decay on a hi-hat during recording, Four Tet introduces further nuances that enhance the overall texture and interest of the drum loop. This approach highlights the power of small, intentional changes in arrangement and signal processing to maintain interest and prevent monotony in drum-driven tracks.
Tape Notes Podcast
Layering kicks for adding weight and punch
Four Tet enhances kick drums by layering a sine wave sub-bass and a click sound to add weight and punch. The sub-bass layer, subtly mixed in, provides a deep weight that becomes very apparent in a club playback situation, while the click layer ensures the kick cuts through the mix with clarity. This method of layering sounds addresses common issues with kick presence and weight, allowing for a more impactful and balanced mix without being required to make the kick too loud.
Tape Notes Podcast
Layering kicks: From synthetic to organic drums
Guy Lawrence from Disclosure shares his approach to creating dynamic kick drum sounds by layering synthetic and acoustic elements. He uses the Credland BigKick plugin to synthesize the low-end, achieving anything from deep 808 booms to punchy 909-style kicks. By layering these synthesized kicks with acoustic kick samples or loops, Lawrence adds a more natural and organic feel to the electronic drums. This technique involves combining different layers, such as a knock, a pedal hit, and room noise, to create a fuller, more human-sounding groove. Lawrence emphasizes the importance of restraint in layering, especially in busy tracks, to maintain clarity and drive. This method allows the kick to sit well in the mix, providing a solid foundation without overwhelming other elements.
Reverb.com
Phase-checking close mics against overheads
Noam Wallenberg discusses using AKG 414 microphones for recording toms, highlighting the importance of phase alignment between tom mics and overheads to achieve a fuller, more impactful sound. He emphasizes that phase relationships for toms can be somewhat unpredictable, as even slight microphone adjustments can alter the phase. Wallenberg advises always checking phase alignment in mono with equal levels between the tom and the overhead, flipping the phase on the tom mic to determine which setting provides more low end and presence. This approach works the same way with other close mics like kick or snare, which is why it's a good practice to keep the overheads as the common phase reference. Getting the phase relationship to the overheads right will bring the toms forward, making them sound fuller and more upfront in the mix.
GGD
Parallel compression for aggressive drum punch
Adam 'Nolly' Getgood shares his approach to parallel drum compression using the Slate FG-Stress plugin directly on the drum bus. He opts for a 20:1 ratio with a high-pass filter in the sidechain, allowing the compressor to focus on the midrange frequencies without the kick drum overly triggering the compression. This setup, inspired by Eric Valentine, uses a slow attack setting of 8 and a fast release of 2.5, achieving a punchy and exciting drum sound with a mix level around 32%. Nolly complements the compression with EQ using the Slate FG-N and Custom Series Equalizer plugins. He applies boosts at 12kHz and 5.5kHz to add presence and aggression, while occasionally enhancing the low end at 60Hz if needed. This EQ strategy, which he previously applied to the entire instrument mix bus, is focused solely on the drums, contributing to a bigger and more defined drum sound. By integrating these techniques, Nolly achieves a drum mix that is both weighty and aggressive, with a presence that stands out in the mix.
Sound On Sound
Spice up drums recordings with parallel processing
Vance Powell demonstrates how to enhance drum recordings using parallel tracks with analog effects, creating a deeper and more characterful sound. He employs an old Ampex mic under the snare, routed through effects pedals for distortion and analog delay, achieving a triplet echo reminiscent of "When the Levee Breaks." This track, dubbed "Sprinkle to Taste," adds a unique texture to the drum mix. Additionally, Powell uses a "distorted kit" track, blending the entire drum kit through a distortion box, and a "mono kit" track, which compresses the kick, snare, and toms via an 1176 compressor, excluding cymbals. These elements are recorded directly into Pro Tools, avoiding excessive plugin use, and are layered with the original drum tracks to create a rich, dynamic sound.
Sound On Sound
Quick mix cohesion: Parallel compression on busses
Vance Powell shares his approach to parallel compression, a crucial element in his mixing workflow. He highlights the importance of setting up a gain structure that allows for efficient integration of parallel compression while maintaining the overall gain staging of the mix. Powell uses various busses to apply parallel compression to specific instruments, such as drums, vocals, and electric guitars. For drums, he employs a combination of the Neve 33609 and Empirical Labs Fatso, achieving a dynamic and tonally rich sound by blending compressed signals back into the mix. He also applies parallel compression to guitars and keyboards using a second Neve 33609 compressor, and to vocals with a GML 8900 compressor, ensuring each element benefits from tailored compression settings. Powell emphasizes the flexibility of his setup, allowing him to adjust or bypass compression based on the source material's needs.
Mix with the Masters
More exciting drum recordings with parallel compression
Sylvia Massy demonstrates the use of parallel compression on drum mics using the UREI 1176LN hardware compressor. By blending a compressed signal with the original drum tracks, she aims to create a sound that is more upfront, bigger, and more exciting. Massy highlights the impact of this technique by adjusting the levels of kick, snare, and room mics, showcasing the enhanced energy and presence it brings to the drum mix. This approach allows the drums to maintain their natural dynamics while adding a layer of intensity and excitement to the overall sound, already during recording.
Audiofanzine
Balance kick and snare with strategic overhead placement
George Massenburg emphasizes the importance of overhead microphone placement in achieving a balanced, full-bodied stereo image for drum recordings. He advocates for positioning the overheads equidistant from the kick and snare to ensure a strong center image, which is crucial for many genres. To achieve this, Massenburg suggests visualizing a line running through the kick and snare, with the overhead microphones positioned perpendicular, or at a 90-degree angle, to this line. This setup ensures that the overheads capture a balanced stereo image, promoting a cohesive and dynamic drum sound. Massenburg critiques the common practice of placing overheads directly over cymbals, suggesting that this approach often leads to an unbalanced mix. Instead, he advises engineers to rely on their ears rather than visual intuition, adjusting the mics in the control room to achieve the desired sound. He highlights the technique popularized by Bill Schnee, which involves using the overheads to capture the full size and air of the drum kit, complementing close mics that focus on attack.
Audiofanzine
Multi-miking the kick for weight and punch
George Massenburg explores optimizing kick drum sounds through multi-miking and phase adjustment techniques, using the Audix D6 and U47 FET microphones. He highlights the importance of mic placement and phase relationships, noting that the Audix D6 provides snap and punch, while the U47 FET adds size and weight to the low end. By adjusting the U47 FET's distance from the kick drum, Massenburg achieves a desirable phase cancellation that enhances the drum's heft. While phase alignment can be fine-tuned post-recording in a DAW by adjusting time delays between the two mics, Massenburg prefers to achieve this during the recording process. This ensures a powerful and well-defined low end right from the start.
Puremix
Record snare with distorted delay for character and depth
Vance Powell employs a unique technique to add character and depth to the snare by using a dedicated mic, which he calls the "Sprinkle to taste" mic, placed under the snare as an effects mic. This mic is routed through a chain of guitar pedals, including the Pigtronix Polysaturator for distortion and a custom analog delay pedal, which together create a reverb-like sustain. The delay and distortion enhance the snare's sustain, giving it a deeper, more textured sound. Powell uses a gate on his console to eliminate noise when the snare isn't being played, ensuring a clean and focused effect. By experimenting with phase alignment, Powell further refines the snare's sound, ultimately deciding that the out-of-phase setting provides a more desirable tonal quality. This creative approach results in a snare sound that stands out with added character and depth.
Reverb.com
Breathing life into MIDI drums with pedal effects
St. Vincent breathes life and vibe into MIDI drum patterns by using a creative chain of effects pedals. The Chase Bliss Habit and Hologram Microcosm, which function as both delays and phrase loopers, introduce randomness and chaos, transforming otherwise lifeless drum sounds into vibrant, manipulated, and interesting textures. To enhance the character and aggression of the drums, St. Vincent employs the Walrus Audio Janus for distortion, adding a gritty edge that makes the drums stand out with more personality and intensity.