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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
Overhead mics are placed further away from the cymbals than normal cymbal miking, and they're meant to pick up the overall sound of the drum kit. That's why we're using the overheads to build your drum mix is a completely different approach to building your mix any other way. In this movie, I'll show you when this method is possible and how it's done. The first thing to know about building a mix from the overheads is there's a difference between the overheads and cymbal mics. Cymbal mics are placed close to cymbals, and they're only trying to pick up cymbals. Overheads are placed above the drum kit, and the idea here is to pick up the entire drum kit.
And usually this depends upon the sound of the room and how big the room is. The bigger the room, the better this works. So sometimes this will work great, and other times it won't. If you have a small room and you try to do overheads, the reflections from the ceiling sometimes can just make it sound bad. So just the fact that you've placed the mics over the drum kit won't necessarily mean that it will sound great. The first thing we're going to do is we're going to bring the left overhead up until the master mix meters read about -10 or so.
(music playing) Now we're going to bring the right overhead as well. Don't forget, we're listening in mono still. We'll cover panning of drums and panning of other instruments in a later series of movies. (music playing) Now from here on in, every time we bring a piece of the drum kit in, what we're trying to do is make it some more defined, not necessarily trying to put it out in front of the overhead sound; we're just trying to make that particular piece of the drum kit more defined-sounding.
(music playing) Let's do the same thing with the snare. And as you can see, we have the kick and the snare grouped together, as we talked about in previous movies. (music playing) The next thing is we're going to bring the toms in. In order to first to do that, we have to go to place in the song that has some tom fills.
So actually, I'm going to hit Command+5 or Ctrl+5 to bring up the Memory Locations window. I already have a drum fill marked. I'll hit Drum Fill. And now we'll hit Play, which is a Spacebar, and bring those toms up. (music playing) Let's hear it again. (music playing) The next thing we'll do is we'll bring up the hat, with the idea of just trying to add to the definition. (music playing) Finally, we'll bring the room channel up.
There is only one room channel in this case. Many times there's two for stereo and sometimes there's even three: left, center, and right. And the idea here is it's going to add to the ambience, and it's going to add a little bit to the glue. Again, we'll just bring it up enough that we can hear it. (music playing) So that's how we build a mix in the overhead mics, which are placed further away from the drums than normal cymbal mics.
As you can hear, it's a completely different sound than when we started from the kick, when we started from the snare, or when we started from the toms for instance. The idea with this technique is that the main drum sound comes from the overheads and the drum mics just fill in the sound around it.
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