73 videos
@ 0:37
Universal Audio
Add punch and vibe with compression and distortion
Will Yip uses a UAD Distressor for compression followed by a UAD Culture Vulture for distortion on the drum bus. He employs a slow attack and quick release on the Distressor to add energy without squashing dynamics, targeting 6-7 dB reduction. The Culture Vulture adds character and glue. Together, both processors create an energetic, lively drum sound that stands out clearly yet sits nicely in the mix.
@ 7:10
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.
@ 7:51
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.
@ 18:25
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.
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.
@ 10:01
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.
@ 32:16
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.
@ 6:10
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.
@ 20:50
SonicScoop
Add excitement with parallel distortion
Catherine Marks uses distortion to add character and excitement to the overall drum mix. First off, there is a Soundtoys Decapitator (in the Neve setting with brightened tone) on the drum bus, giving the drums more character and presence. To this, she adds further distortion on a parallel bus with the Little Radiator, which is kept quite low in level, but yields additional excitement.
@ 9:40
SonicScoop
Add presence with parallel EQ
Instead of a simpler EQ approach, where one would attempt to make a signal more present by either adding high frequencies or cutting low frequencies, Catherine Marks adopts a different method using parallel EQ. She duplicates the dull-sounding drum loop onto a new track, applies EQ there (primarily high-pass filtering), and then blends this modified signal back with the original sound. This technique allows her to brighten the loop, enhance its character and crunchiness, and create space for the body of the live drums, all while preserving some of the warmth from the original loop sound.
@ 1:53
Universal Audio
Add tone and sustain with parallel compression
Joe Chiccarelli demonstrates how to add tone and sustain to hip-hop drums using parallel compression and EQ. On the parallel bus, he employs the UAD Chandler Limited Zener Limiter to extend the sustain and impart a classic 70s tone, followed by the UAD Chandler Limited Curve Bender EQ to enhance the kick drum's knock and bring out the hi-hats. By blending the parallel path with the original drums, Chiccarelli achieves a bigger, more defined drum mix that better projects through the overall track.
@ 15:26
SonicScoop
Bigger, deeper drums with reverb and compression
Sylvia Massy adds ambience to the drums by blending reverb on the snare, overhead, and kick with compression on the room mic. Utilizing Valhalla VintageVerb's drum plate preset, she enhances the depth and size of the drum sounds. Concurrently, she applies crushing compression to the mono room mic using the Avid BF-76. This technique not only fills the gaps between drum hits but also adds thickness and body, enhancing the overall impact of the drums. By balancing the expansive quality of the reverb with the intensifying effect of compression, Massey creates a drum sound that is both big and cohesive.
@ 2:13
Produce Like A Pro
Reduce cymbal bleed in the room mics with Soothe
Darrell Thorp explains how to use Oeksound Soothe to reduce cymbal bleed in the room mics, making the overall drum mix softer and less harsh. By applying Soothe as a dynamic EQ, Thorp effectively tames the excessive cymbal frequencies, allowing the kick drum's low end and the snare's decay to come through more clearly. This technique is particularly useful when dealing with poorly recorded cymbals or overly aggressive drummers, ensuring that the room mics contribute positively to the drum mix without overwhelming it with harsh cymbal noise.
@ 2:09
Mix with the Masters
Reduce noise on the drum bus
Jaycen Joshua employs the Avid Dynamics III gate to manage noise on the drum bus. He sets the gate with a very low threshold, ensuring it remains inactive while the drums are playing, thus preserving the natural sound and dynamics. However, once the drums stop, the gate gradually closes with a one-second release, effectively reducing any noise floor caused by extensive compression and plugins. This technique is an easy way to maintain a clean mix, and can be applied to other instruments or effects returns to prevent unwanted noise from creeping into the mix during silent passages.
@ 0:22
Universal Audio
Add punch and character with parallel compression
Joe Chiccarelli adds punch and character to hip-hop drums using parallel compression and EQ. He starts with the UAD Neve 33609 compressor, set to a 3:1 ratio and fast release, to enhance the size, punch, and depth of the drum sound. Following compression, Chiccarelli uses the UAD API 550A EQ to further shape the parallel bus. He boosts 9 dB at 100 Hz for a powerful low end and adds presence by pushing frequencies at 800 Hz and 5 kHz. This parallel processing technique results in a drum sound that is both punchy and characterful, standing out clearly in the mix.
@ 13:47
SonicScoop
Bring drums upfront with parallel compression
Sylvia Massy enhances the drums' prominence by adding a parallel compression path. Like with her kick/snare parallel compressor, she is using the Avid BF-76 as an 1176 emulation, set to longest attack, shortest release, and a 4:1 ratio. The compressor gets fed by all drum tracks, including overheads and rooms, not just kick and snare. This increases the drums' sustain, loudness, and excitement, effectively accentuating the ambient sound of the kit and bringing out "the room within the kit". Massey mentions that she typically automates the parallel paths throughout the song, often increasing their level towards the end to amplify the song's dynamic build-up and ensure the kick and snare remain prominent.
@ 1:21
Sam Evian
Add movement and texture with modulated delay
For "Time to Melt," Sam Owens harnesses the modulation features of the Korg SDD-2000 to craft intriguing textures for both the drum machine and guitars. He processes the drum machine with the delay set to fully wet and significantly cranks up the modulation depth for a noticeable impact. This method requires the delay time to be kept short to prevent notable timing shifts in the drum tracks, or alternatively, any discrepancies in timing must be adjusted post-recording in the DAW. Beyond modulation, Owens enhances the guitars by utilizing the stereo outputs of the SDD-2000, creating a wide stereo image with one side phase-inverted compared to the other, further enriching the track's sonic landscape.
@ 3:48
Mix with the Masters
Mid-Side EQ for tighter low-end and better separation
Jaycen Joshua shows how to use Mid-Side EQ with the Brainworx bx_digital to achieve better separation and a tighter low-end in a drum mix. By reducing masking frequencies in the center channel, he creates space for the vocal, ensuring it sits comfortably in the mix. To help the drums maintain energy, he then adds some of these reduced frequencies back on the side channel. This effectively shifts energy from the center to the sides of the mix, creating a space for the vocal to thrive. He also advocates using the Mono Maker feature to center all low-end frequencies below 61Hz, enhancing the overall clarity and punch of the track's low-end.
@ 1:58
Mix with the Masters
Automate level and low-end to lift the chorus
Michael Brauer demonstrates a technique for amplifying the impact of a chorus. He does this by making the preceding section 'smaller' - reducing the drum levels and cutting low-end frequencies. This creates a contrast so that when the chorus arrives, its increased level and added low-end frequencies make it sound significantly larger and more impactful. This approach effectively heightens the song's dynamics, making the chorus stand out.
Waves
Explosive drum room with compression and EQ
Joe Barresi demonstrates how to create an explosive drum room sound using a combination of EQ and compression with Waves Kramer PIE, Waves Kramer HLS Channel, and ADR Vocal Stresser. He emphasizes the importance of the room mics in adding glue and excitement to the drum mix. When working out-of-the-box, Barresi uses extreme settings on the ADR Vocal Stresser to blow up the room sound. For an in-the-box alternative, he employs the Waves Kramer PIE limiter to control dynamics and the Waves Kramer HLS Channel for tonal shaping, shifting the midrange to focus more on the snare and kick.
@ 5:14
Mix with the Masters
Bring programmed drums upfront with compression
Marcella Araica buses all her drum tracks together and uses a Neve 33609 compressor to add punch and presence, bringing the drums more forward in the mix. She maintains a low ratio to preserve transients, aiming for a moderate 3-5dB of gain reduction. The attack is set fast, which, on this compressor, still allows for the transient to come through. The release is on the "a1" auto setting, ensuring a smooth response. The goal is not to squash but to subtly enhance the drum bus.
@ 1:35
Mix with the Masters
Add color with bus compression
Jaycen Joshua uses the UAD Shadow Hills Mastering Compressor to add color and excitement to his drum bus. He focuses on the compressor's ability to enhance the drums with harmonic saturation rather than heavy compression, keeping gain reduction minimal at a maximum of 1 dB. By "kissing" the compressor, Joshua achieves a rich, vibrant drum sound that maintains its dynamics while benefiting from the subtle coloration and character the Shadow Hills unit provides. This approach ensures the drums remain lively and engaging within the mix.
@ 9:26
Reverb.com
Add excitement and character to the drum bus
To enhance the character of a Black Keys-style drum recording, Noam Wallenberg is using a series of processing techniques on the drum bus. The Decapitator is employed to inject aggressive distortion, immediately adding excitement and a sense of controlled chaos to the drum sound. To smooth out transients, the Satin tape emulator is introduced, providing additional distortion and excitement while taming the sharpness of the hits. The Oxford Inflator, though somewhat mysterious in its exact function, is used to enhance dynamics and add mid-range presence, making the drums sound more lively and engaging. Further refinement is achieved with a Distressor to regain attack, followed by a multi-band compressor to balance the frequency surges and maintain control over the dynamic range. Finally, a touch of subtractive EQ with the FabFilter Pro-Q 3 is applied to manage the mid-range, ensuring the drum bus remains balanced and characterful.
@ 0:49
Reverb.com
3 mics to record Black Keys-style drums
To capture a Black Keys-style drum sound, the setup includes a Ludwig Vistolite kick drum, a Ludwig Black Beauty snare drum, and K dark Zildjian hi-hats. The miking approach is a modified Glyn Johns technique, using three microphones strategically placed to ensure phase alignment and enhance the kick drum's presence while reducing hi-hat bleed. The overhead mic is positioned in front of the kit to capture more kick drum sound, while the side mic and kick mic follow traditional Glyn Johns placements. This setup is crucial for achieving the desired drum sound, especially with the heavy distortion and compression that gets applied. To add brightness and energy, reflective panels are used in the live room. By flipping baffles to their reflective side, the drums gain extra liveliness and presence, closely matching the vibrant sound of Patrick Carney's drumming.
@ 2:53
Mix with the Masters
Gain clarity with simple subtractive EQ
Jaycen Joshua demonstrates a simple yet effective approach to achieving clarity and openness in drum mixes using the FabFilter Pro-Q 3 EQ. He focuses on reducing excessive low-end energy in the drums by cutting frequencies around 1100 Hz and below. This prevents the drums from becoming too heavy and allows the upper harmonics to shine through. By removing some of the weight, Joshua achieves the desired separation and openness in the mix, ensuring that each element has its own space and clarity. This method highlights the importance of subtractive EQ to enhance the overall balance and definition of a track.
@ 2:23
Apogee
Creating unique sounds with contact mics and speakers as mics
Shawn Everett explores the idea of exclusively using contact mics and speakers for the recording of the song "Blurred View" from Big Thief, bypassing traditional microphones to craft a distinctive sonic palette. This approach allows him to capture unique, organic sounds that emphasize emotion and creativity. During the recording sessions, Shawn mixes live, ensuring that the rough mix at the end of each day is album-ready. This workflow requires him to adapt his mixing techniques on the fly, maintaining a focus on emotion and immediacy. Shawn employs unconventional methods, such as using a rewired speaker as a contact mic on a kick drum, to achieve unusual textures. He also creatively repurposes old Apple headphones as contact mics for guitar amps, demonstrating his innovative approach to sound capture. For vocals, Shawn tapes headphones to the singer's throat, resulting in a lo-fi vocal sound that adds a unique character to the track.
@ 3:43
Tape Notes Podcast
Creating more interesting drum sounds with automation
FKJ employs a modular synth setup to craft dynamic and evolving drum sounds through real-time automation. By continuously adjusting the settings of the percussion module, he introduces variation and intensity to the rhythm, making the drum sequences more interesting and less static. The modular system enables FKJ to alter elements like snare decay in real-time, adding a lively and creative dimension to the electronic drum sounds. This hands-on approach not only enhances the track's dynamics but also makes the process more enjoyable and engaging for the artist. These real-time manipulations are recorded as audio tracks in the DAW, allowing for further editing and comping, similar to traditional instrument takes. This method provides flexibility and creative control, resulting in a more vibrant and expressive drum sound.
@ 6:58
Tape Notes Podcast
Playing softer for bigger drum sounds
Jack Antonoff shares his approach to achieving bigger-sounding drums by playing them softly. He explains that playing drums loudly can paradoxically limit their perceived loudness in a mix. By playing softly, the drums can be mixed louder, leveraging a psychoacoustic effect where our brains interpret the sound as being closer and, thus, more impactful. This technique is akin to the sensation of hearing a whisper clearly; when a sound is soft yet prominent, it tricks our perception into feeling as though the source is near. This creates an intimate and powerful presence in the mix, making the drums feel larger and more enveloping without overwhelming other elements.
@ 16:46
SonicScoop
Using the vocal mic as a drum room
Catherine Marks creatively repurposes the vocal mic to capture drum room ambience. By leaving the vocal mic open during drum recording sessions, she harnesses its characteristics to add depth and character to the drum sound. The vocal mic's signal is processed with the same reverb and delay effects intended for vocals, using an Echosex delay pedal and a Holy Grail reverb pedal. This approach creates a spacious quality that she blends with the rest of the drum mix for added dimension. Additionally, Marks employs gating to tighten the sound, allowing for a controlled yet expansive drum ambience.
@ 6:47
Reverb.com
Pump up drums in Tame Impala-style with a Shure Level-Loc
Discover how to achieve a Tame Impala-style drum sound using the Shure Level Loc compressor. This unique compressor, originally designed for broadcast, is key to creating an aggressive and characterful drum tone. By routing all individual drum mics to a mono drum bus and applying the Shure Level Loc as an insert, you can dramatically compress the signal, resulting in a distinct, punchy sound. This technique emphasizes the compressor's role in defining the tonal character of the drums. As a plugin solution, the Soundtoys Devil-Loc Deluxe offers an excellent emulation of the Shure Level Loc, providing a similar sonic impact.