ROCK DRUMS mixing process - getting started in 10 mins!

Drum Mixing Tactics

Introduction to Drum Mixing

• Drums play a crucial role in mixing rock or metal music, often serving as the foundation for the overall sound.

• Alex from Anticreates introduces his approach to transforming raw drum tracks into a polished mix, emphasizing the importance of starting with drums.

• The process discussed occurs before adding samples, allowing for an intimate understanding of each microphone's contribution.

Overview of Drum Setup

• The typical drum setup includes kick in/out, snare top/bottom, a firecracker snare, floor tom, hi-hat mic, ride spot mic, and overhead/room mics.

• Alex plays the raw tracks without any processing to provide listeners with an idea of their initial sound quality.

Initial Steps in Mixing

• The focus is solely on drums; no other instruments are considered at this stage.

• Panning is the first step; Alex prefers hard panning for overhead and room mics to create spatial definition in the mix.

Panning Techniques

• Overheads are panned 100% left and right; spot mics for hi-hat and ride are also hard-panned to enhance their placement.

• The firecracker snare is panned slightly off-center (50%-60% left), balancing its presence while maintaining its distinct character.

Volume Adjustments

• Initial volume adjustments involve lowering levels for hi-hat and ride mics to achieve a balanced mix.

• Soloing individual tracks helps determine appropriate levels; some recordings may have lower mic levels that need adjustment when mixed together.

Snare Balancing

• Focus shifts to balancing kick and snare levels; adjustments made based on desired snare rattle can significantly affect overall sound quality.

• Alex emphasizes bringing down certain elements like snare bottom while ensuring enough rattle remains for character.

Drum Mixing Techniques

Managing Room Sounds

• The speaker discusses the loudness of room sounds in drum mixing and suggests grouping them for easier control. They prefer mono tracks but acknowledge that stereo tracks can also be used.

• The process involves lowering the volume of room sounds initially and gradually mixing them back in while monitoring how they blend with the drum track.

Overhead Microphone Considerations

• The speaker emphasizes the importance of overhead microphones, suggesting they should be grouped as well to assess their relationship with close mics.

• A focus on EQ is introduced, particularly rolling off low frequencies on hi-hat and ride mics to maintain clarity and definition without muddiness from other instruments.

EQ Techniques

• The speaker prefers using SSL channels for mixing but notes that these principles apply universally across different plugins. Comfort with tools is emphasized over specific choices.

• When adjusting the hi-hat mic, they roll off low-end frequencies significantly to enhance definition, adding a bit of high-end boost at 4.4kHz for better attack presence.

Compression Strategies

• Light compression is applied to ensure even sound levels without amplifying bleed from other instruments. This approach is consistent across both hi-hat and ride mics.

• Similar techniques are employed for the ride mic, focusing on finding a natural sound by boosting certain frequencies while avoiding low-end clutter.

Phase Checking Process

• After initial adjustments, checking microphone phase relationships becomes crucial. This subjective process helps determine how well each mic works together within a mix.

• The speaker acknowledges that understanding phase can be complex; however, it’s possible to proceed without perfect phase alignment if overall sound quality remains satisfactory.

• They conclude this section by noting their preferred phase settings among various mics (kick out, snare top/bottom, hat/ride spot mics), preparing to demonstrate differences in sound when phases are adjusted.

Mixing Techniques: Understanding Phase and EQ

Importance of Phase in Mixing

• The speaker discusses the impact of phase on sound quality, noting that subtle changes can significantly enhance the mix. Awareness of mic placement is crucial to avoid cancellation effects between kick and snare mics.

• A future video will delve deeper into phase issues, emphasizing its complexity and importance in mixing.

Analyzing Individual Elements

• The process involves examining each microphone's individual characteristics to identify optimal EQ points, which aids in understanding how elements interact within the full mix.

• Recognizing natural EQ points for instruments like kick drums and snares is essential for effective mixing. This knowledge allows for better integration with other tracks.

Kick Drum Processing

• The speaker prefers using an SSL console for processing. Initial adjustments include adding compression and enhancing bottom end frequencies around 70 Hz.

• A focus on clarity leads to cutting muddiness around 500 Hz while boosting attack frequencies at approximately 6.5 kHz without affecting snare bleed too much.

• Combining kick in and out mics helps achieve a balanced sound; the kick out mic contributes more bottom end while maintaining clarity from the kick in mic.

Snare Drum Processing

• Starting with soloed snare tracks, the speaker rolls off low-end frequencies below 80 Hz to maintain clarity while applying light compression for evenness.

• Emphasis is placed on finding body weight around 300 Hz while also adding crack at about 4.8 kHz to enhance presence without losing necessary low mids.

• Adjustments are made by comparing original sounds with new EQ settings, ensuring that both top and bottom snare mics contribute effectively to the overall sound profile.

Final Adjustments

• For the bottom snare mic, focus shifts towards capturing rattling sounds rather than weight, allowing for precise volume adjustments based on desired rattle effect.

• Similar techniques are applied to additional percussion elements like firecracker tops, where high-end boosts are favored over low-end presence.

Mixing Techniques for Drums

Initial Adjustments to the Mix

• The speaker decides on a target frequency of about 6K for the mix, indicating a preference for a tacky sound and plans to reduce some lower frequencies by 200-300 Hz.

• They discuss adding another SSL (Solid State Logic) channel, highlighting that both elements have desirable qualities around 5K and 6K frequencies.

Compression and EQ Strategies

• The speaker notes that the sound is muddy, prompting them to roll off certain frequencies while adjusting volume levels. They plan to apply compression after EQ adjustments.

• Moving on to the floor tom, they aim to enhance attack and body while eliminating muddiness in the middle frequencies.

Frequency Management

• The focus is on identifying problematic mid-range frequencies around 600 Hz that contribute to muddiness; they emphasize careful listening during this process.

• Acknowledging that their approach isn't scientific, they find it essential to understand frequency dynamics before making adjustments.

Enhancing Tom Sounds

• The speaker adds compression and seeks specific stick attack sounds that will cut through the mix effectively.

• They express satisfaction with achieving definition in the top end of tom sounds while maintaining resonance from lower frequencies.

Overheads and Room Sound Considerations

• Transitioning to overhead mics, they mention previous work done on hi-hats and rides, focusing now on how overhead tracks contribute overall.

• A strategy of rolling off low-end frequencies at around 200 Hz is employed alongside adding high-end sheen at approximately 12K for clarity in cymbals.

Finalizing Room Sounds

• The speaker assesses room mic quality as clean without excessive crunch; they decide not to alter these tracks significantly until determining their intended role in the mix.

• They contemplate whether room mics should add space or be more compressed/distorted based on track requirements.

Rebalancing After EQ Adjustments

• With significant boosts applied via EQ adjustments (upwards of several dB), rebalancing becomes crucial as it affects overall volume levels within the mix bus.

• Grouping similar elements like kick and snare allows for better control over their relationship in terms of loudness within the overall mix.

Mixing Drums: Building a Solid Foundation

Initial Setup and Level Balancing

• The speaker begins by adjusting the kick and snare levels to avoid peaking on the mix bus, aiming for a balanced perceived level.

• Overheads are added next, serving as the "glue" that integrates all elements of the drum mix.

Adding Elements for Depth

• The speaker loops a section to incorporate room sounds, focusing on balancing the floor tom and ride cymbal.

• As each element is introduced, such as the ride mic, it enhances spatial awareness in the mix by defining its position through EQ adjustments.

Achieving Overall Balance

• The addition of hi-hats further widens the drum image; careful attention is paid to ensure they blend well with overheads without overpowering other elements.

• The speaker emphasizes that while there are scientific levels to aim for, their primary goal is to prevent peaking in the mix bus.

Understanding Drum Sound Dynamics

• After establishing a solid drum sound foundation, there's an emphasis on how this setup allows for further adjustments as more elements are added.

• The process is iterative; nothing is fixed as new components can alter the overall sound. Suggestions for future steps include adding compression techniques.

Sample Integration and Future Steps

• Once familiar with individual track sounds (kick, snare), samples can be strategically added to enhance the overall mix.

• Viewers are encouraged to engage with questions or requests for additional content related to sample integration or mixing techniques.