Within that stereo image, you can move items from left, to right, to back to the center. For the kick, add a tiny bit of low-end, and then pull down the mid-low quite a bit. Quite simply, you can ruin a really good recording if you EQ something wrong. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. I show you my workflow, which order I mix the drums, which plugins I use, which settings I use and much more. And if there’s anything at all relating to mixing drums that you’re still unsure about, just leave a comment below and I’d be happy to help! You'll need to adjust the "Q" setting to make it less wide. But be mindful if you're recording a quieter, acoustic band -- you'll need to make sure you're isolating better.So let's take a listen. These cookies will be stored in your browser only with your consent. Which drum should you mix first? Of course, you can use these same methods in whatever software you prefer using.In this tutorial, you'll learn how to pan your drums, how to compress, gate, and EQ, and how to make sure the overall mix is balanced.Let's take a listen to how the drums sound naturally, to compare to your final mix. There’s no reason to EQ the top end and notch out the same room tone on every single channel if I can just do it on the drum buss. I love drums and I love mixing drums. 2. The listener is more engaged, and feels more "connected" with the recording. Your email address will not be published. Feel free to build your own mixes starting with my full mix … Wednesday, January 20, 2010. Mixing drums is complicated, especially in a home studio! Make sure you've un-soloed the tracks, so you're listening to the whole mix together. Open the Pro Tools Workshop session file. But opting out of some of these cookies may have an effect on your browsing experience. With this tutorial, you'll learn the basics of mixing drums in Pro Tools, complete with a free, downloadable session file, and audio files to … The high-hat and overheads are generally lower, but depending on the velocity being hit on the hat, I move it up or down. Mixing a Full Drum Kit In Pro Tools (6 Step Drum Mixing Process), How To Make DI Acoustic Guitar Sound Good (3 Step Mixing), How To Record Acoustic Guitar Without a Mic (3 Simple Steps), How To Prepare Your Mixes for Mastering (4 Simple Steps). Where do you start? I’m going to e… You'll notice that, with the exception of the overheads, everything is on the same "plane" in the stereo image. For the snare, I prefer to bring a little bit of mid-highs up, and kill most everything below 80 Hz, and sometimes, depending on how much of everything else I'm picking up, I also kill some of the highs as well. That's something you'll need to deal with if recording in this manner; for rock bands, such as this, it's not an issue, as everything blends in just fine. EQ is a really touchy subject; a lot of engineers avoid it like the plague. Aside from that, play with the curve; your ears (and song) may benefit from some added "air" on other tracks around 8-10khz.I tend not to use EQ on most everything else on the drum kit, with one exception: on both the overheads and the high-hat, I tend to remove everything below 100 Hz, mainly because cymbals don't project anything in that aural range.Now, let's look at one final step -- making sure everything is even. Introduction. What Level Should You Record At In A Home Studio? I also move the overheads down so that I'm not getting a whole lot of "noise" other than the actual cymbal hits.One note on isolation: if you'll notice on these tracks, the band was tracking in the same room as the drummer, which is a popular way to do things when budget is an issue. How bright? I’m going to show you my 6 step process for mixing drums – from raw to rocking. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. The recordings needed a bit of work though to get them sounding really punchy and radio ready. You can, of course, experiment -- many recordings have the kick and snare panned in non-traditional ways -- but for most rock recordings, you'll keep them centered.Next, look at the toms. Necessary cookies are absolutely essential for the website to function properly. Mixing live multi-track drum recordings is a challenging process, especially for those new to mixing. You'll see individual tracks for the kick, snare, toms, high-hat, and a stereo file with the overhead mics. Any changes you make in EQ on a particular track should be listened to against the whole recording.Place an EQ plug-in on both the kick and snare -- I really like Digidesign's new EQ III plug-in. If, upon listening to them together, they sound unbalanced (which makes for a "lumpy" sounding recording), make some panning adjustments. First, it gives you something very psychologically important. The high-hat will be panned hard right.Now, let's go on to gating and compressing. Knowing how you want your drums to sound is one thing, getting there is the difficult bit. The tracks in the video were sent over from an awesome rock band called Powderhead.

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