Drum Mixing Techniques

  • Thread starter Thread starter MarvinG
  • Start date Start date
jimmys69 said:
Seriously, I think I hit the wrong button.
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I did that once to bouldersoundguy....way back when I first joined here.
I just moved the mouse and clicked OK, and then realized the mouse pointer rolled over the "negative" check box as I was clicking. :facepalm:

At least I made it up to him by leaving double the positive rep (took awhile).
I didn't tell him to "go ask the admin to fix it". :D

There...I gave him some postive rep so you can save face.....
 
Thanks guys. It was truly a mistake. I'm not as perfect as Manning! lol!
 
@Mo Facta, thank you for that guide - so much is jumping out at me right away, especially: "Early on, it was a major revelation to me when I realized that the overheads are not there to merely capture the cymbals. In fact, I would say that starting with a great overhead sound that captures a balanced image of the entire kit (as always, to match your production goals) is probably the best approach."

-- It was so hard for me to learn this. I had convinced myself that a Shure 57s on the snare and each tom and a Beta 52 in the kick (all as close as possible) would give me my "drums sound" and super skinny small diaphragm overheads up close would give me my "cymbals sound." I mean, it seems to make sense. I wanted the kit and just the kit, NO ROOM because I have a less-than-ideal room (nothing I can do about it -- I can't wave a magic want and make the ceilings any higher or the room any bigger). Anyway, I was obsessed with this concept of separation -- separating the drums from the cymbals -- I just simply could not get my head around the concept that in my room on my set up, I needed instead to focus my energies on large diaphragm overheads to pick up the kit as a whole and then use the 57s and 52 to supplement the mix. Try as I might, I just couldn't get the separation thing to work. Maybe it works, heck, I am really excited to do my next song tracking drums and cymbals separately! But for straight-up one-pass recording my drums, I had to change my thinking on overheads.

Anyway, that part of your guide jumped out at me. Looking forward to digging in and trying out some of the tracking and mixing stuff you have in pages 6-18.
 
Glad you got something out of it. I have been meaning to do a revision but I haven't had time so some of the info is different than my approach now. But for what it's worth, hope it helps you out.

Cheers :)
 
Ok, now I gotta go do some reading... :)

Whoa! What is up with that font! Yikes!
 
Naw, the body of the text. Almost unreadable for me. :(
 

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Doesn't look like that on my end. Must be your comp dude!

Cheers :)
 
MarvinG said:
, I was obsessed with this concept of separation -- separating the drums from the cymbals
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The drums are unique among all instruments in the sense that they are one instrument yet are made up of several distinct sonic components {plastic/skin, metal, wood} of markedly varying sounds and pitches that are simultaneously combined while being heard separately. So naturally, many will go through that separation phase.
I've learned that the trick is maintaining the paradox.........and that's what I'm after, hearing the separate components panned in their various places yet keeping the kit sounding like one instrument, not 12 percussionists.
 
jimmys69 said:
Whoa! What is up with that font! Yikes!
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I find the font goes like your attached image the more I zoom in. I need big fonts these days. Small fonts are for toads and babies being christened !
 
Mo Facta said:
Doesn't look like that on my end. Must be your comp dude!

Cheers :)
Click to expand...

Just so you know....the font is a minor concern, but that site has known malware on it and I'm seeing security blocks here at work because of it....so use at your own risk.
 
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