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Audio Mixing Bootcamp

Building the mix from the toms


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Audio Mixing Bootcamp

with Bobby Owsinski
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  1. 1m 16s
    1. Welcome
      1m 16s
  2. 8m 20s
    1. Determining the listening position
      2m 27s
    2. Fixing acoustic problems
      2m 5s
    3. Setting up your monitors
      3m 48s
  3. 20m 17s
    1. Setting up your session
      5m 52s
    2. Setting up your subgroups
      7m 50s
    3. Setting up your effects
      6m 35s
  4. 8m 45s
    1. Developing the groove
      3m 46s
    2. Emphasizing the most important elements
      3m 44s
    3. Knowing what to avoid
      1m 15s
  5. 1h 4m
    1. Learning the principles of building a mix
      1m 1s
    2. Assigning the drums to a subgroup
      3m 55s
    3. Building the mix from the kick
      10m 8s
    4. Building the mix from the snare
      8m 46s
    5. Building the mix from the toms
      5m 25s
    6. Building the mix from the overhead mics
      3m 53s
    7. Checking the drum phase
      4m 44s
    8. Balancing direct and miked bass channels
      3m 36s
    9. Building the mix from the bass
      3m 26s
    10. Building the mix from the vocals
      4m 19s
    11. Balancing the rhythm section
      2m 44s
    12. Balancing the rest of the instruments with the rhythm section
      5m 22s
    13. Making a mix without building it
      4m 20s
    14. Balancing the harmony vocals
      2m 35s
  6. 23m 2s
    1. Looking at the three main panning areas
      9m 23s
    2. Panning the drums
      6m 9s
    3. Avoiding pseudo-stereo
      7m 30s
  7. 1h 17m
    1. Understanding compressor parameters
      3m 42s
    2. Setting up the compressor
      14m 44s
    3. Compressing the drums
      7m 53s
    4. Compressing the room mics
      4m 9s
    5. Compressing the bass
      5m 24s
    6. Using the New York compression trick
      4m 23s
    7. Compressing the clean electric guitars
      4m 40s
    8. Compressing the distorted electric guitars
      4m 48s
    9. Compressing the acoustic guitars
      8m 7s
    10. Compressing the piano
      6m 35s
    11. Compressing the electric keyboards
      4m 32s
    12. Compressing the vocals
      4m 34s
    13. Compressing the horns
      3m 55s
  8. 25m 36s
    1. Learning noise gate basics
      9m 23s
    2. Using the noise gate on guitars
      3m 57s
    3. Using the noise gate on drums
      7m 38s
    4. Learning de-esser basics
      2m 15s
    5. Using the de-esser on vocals
      2m 23s
  9. 36m 4s
    1. Understanding equalizer parameters
      10m 16s
    2. Learning subtractive equalization
      8m 57s
    3. Learning frequency juggling
      8m 28s
    4. Using the magic high-pass filter
      7m 39s
    5. Learning the principles of equalization
      44s
  10. 49m 46s
    1. Equalizing the kick
      6m 7s
    2. Equalizing the snare
      2m 57s
    3. Equalizing the rack toms
      5m 4s
    4. Equalizing the floor tom
      4m 32s
    5. Equalizing the hi-hat
      4m 56s
    6. Equalizing the cymbal or the overhead mics
      6m 49s
    7. Equalizing the room mics
      5m 13s
    8. Equalizing the bass
      3m 59s
    9. Editing the bass rhythm
      4m 21s
    10. Equalizing the rhythm section
      5m 48s
  11. 47m 58s
    1. Equalizing the electric guitar
      8m 15s
    2. Equalizing the acoustic guitar
      4m 55s
    3. Equalizing the hand percussion
      3m 28s
    4. Equalizing the lead vocals
      6m 5s
    5. Equalizing the background vocals
      4m 14s
    6. Equalizing the piano
      4m 46s
    7. Equalizing the organ
      6m 49s
    8. Equalizing the strings
      6m 4s
    9. Equalizing the horns
      3m 22s
  12. 30m 47s
    1. Learning the principles of reverb
      1m 59s
    2. Understanding reverb parameters
      6m 49s
    3. Timing the reverb to the track
      6m 6s
    4. Equalizing the reverb
      2m 51s
    5. Using the two-reverb quick setup
      5m 35s
    6. Using the three-reverb setup
      7m 27s
  13. 59m 8s
    1. Adding reverb to the drums
      7m 56s
    2. Adding reverb to the vocals
      11m 59s
    3. Adding reverb to the guitars
      5m 17s
    4. Adding reverb to the piano
      4m 19s
    5. Adding reverb to the organ
      3m 43s
    6. Adding reverb to the strings
      5m 36s
    7. Adding reverb to the horns
      2m 57s
    8. Adding reverb to the percussion
      4m 46s
    9. Using reverb to layer the mix
      12m 35s
  14. 46m 8s
    1. Learning delay principles
      1m 40s
    2. Understanding delay parameters
      6m 54s
    3. Timing the delay to the track
      1m 28s
    4. Using delay timing variations
      2m 51s
    5. Equalizing the delay
      4m 23s
    6. Understanding the Haas effect
      2m 51s
    7. Using the three-delay setup
      7m 23s
    8. Adding delay to the vocals
      8m 43s
    9. Using delay to layer the mix
      9m 55s
  15. 21m 35s
    1. Understanding the types of modulation
      2m 43s
    2. Understanding modulation parameters
      4m 13s
    3. Modulating the guitars
      4m 7s
    4. Modulating the keyboards
      3m 17s
    5. Modulating the vocals
      4m 17s
    6. Modulating the strings
      2m 58s
  16. 12m 22s
    1. Mixing with subgroups
      5m 5s
    2. Using mix buss compression
      4m 21s
    3. Understanding the evils of hypercompression
      2m 56s
  17. 39s
    1. Goodbye
      39s

Video: Building the mix from the toms

Many mixers feel that when they build their mix from the kick or snare the tom fills get lost when they enter the song. That's why some mixers prefer to build their drum mix from the toms and build the rest of the mix around them. In this movie, I will show you just how to do that. So in order to start from the toms, the first thing we're going to have to do is find a place in the song where the toms are playing. What I am going to do is hit Command+5. That's going to bring up our memory locations. And I have already selected a memory location where the drum fills happen. So we come down here to Drum Fill, click on that, and now we should have a nice drum fill to start from.

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Audio Mixing Bootcamp
8h 53m Beginner Nov 11, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Optimizing your listening environment
  • Setting up sessions, subgroups, and effects
  • Understanding which mixing elements to avoid
  • Understanding the principles of building a mix
  • Panning instruments
  • Setting up the compressor
  • Using noise gates and de-essers
  • Understanding the concept of frequency juggling
  • Using the magic high-pass filter
  • Timing reverb and delay to a track
  • Using reverb to layer the mix
  • Understanding the Haas effect
  • Modulating guitars, keyboards, and vocals
  • Mixing with subgroups
  • Tweaking the final mix
Subjects:
Audio + Music Mixing Music Production Audio Effects
Software:
Pro Tools
Author:
Bobby Owsinski

Building the mix from the toms

Many mixers feel that when they build their mix from the kick or snare the tom fills get lost when they enter the song. That's why some mixers prefer to build their drum mix from the toms and build the rest of the mix around them. In this movie, I will show you just how to do that. So in order to start from the toms, the first thing we're going to have to do is find a place in the song where the toms are playing. What I am going to do is hit Command+5. That's going to bring up our memory locations. And I have already selected a memory location where the drum fills happen. So we come down here to Drum Fill, click on that, and now we should have a nice drum fill to start from.

The first thing I will do is I will bring up tom number one. It doesn't matter which tom you start from in this case. I will just bring up tom number one because it says number one. We'll be able to adjust it a little bit later. The big thing is we want to be able to hear this and all the other toms without worrying about the rest of the mix first. (music playing) Now, let's bring second tom in, tom number two. And the idea here is to get it balanced so tom number one, tom number two are about the same level. (music playing) Let's play that again.

(music playing) One more time. (music playing) Now let's bring the Floor Tom in. Once again the idea is to get it so it's at the same level. (music playing) Let's tweak it a little, play it again. (music playing) It's about right. Now, the next thing I am going to do is I am going to group all these three together.

So what I'll do is I will select the Floor Tom, then I will Shift+Click on the other two tom channels, and I will go up to Track, and say let's add a group. You can see Currently in Group there is Floor Tom, Tom 1, and Tom 2, and let's call the group Toms. Makes sense. And now click OK and now we have the tom group, and you can see that with one fader, I can move the level of all three channels up and down as needed. So now we're going to start with the kick, although you can start with any other drum channel that you like.

In this case, we'll do the kick. We'll try to bring it up so it's about the same level as the toms. (music playing) Let's hear that one more time. (music playing) Now, let's bring our snare in. Once again, we're trying to bring it up so it's relatively the same level as our kick and as the toms as well. (music playing) Now, we'll bring our overheads in.

Once again, the idea here is to bring it in so you can hear those cymbals, either the crash cymbal or the ride cymbal. If you're looking for definition in the cymbals, you don't want them to be too loud, you don't want them to be too soft, but you want to be able to hear them clearly. (music playing) Let's bring the right one in. Once again, we're listening in mono, so you're not going to hear it as right and left. We'll get into panning in another series. (music playing) If you listen to the hi-hat there, you could hear it fairly clearly without the hi-hat channel even being on.

It's at 0 right now. So if we were to lift it up, the whole idea is to bring it up so, again, we have some definition. We don't necessarily hear it getting louder as much as we hear it getting more defined. That's the whole trick. (music playing) And finally, the Room channel. There could be as many as three room channels on any given mix. One would obviously be mono, two would be left and right, which would be stereo, and sometimes there's even three, which is left, center, right.

The whole idea of the room channels is to give the drum kit some ambience and to give it some glue. There is no other way to really do it other than with the room channel. This is a mic that's set out the room anywhere from three to maybe a dozen feet away. (music playing) Let's listen again from the beginning. (music playing) So that's how we build a mix around tom fills.

As you can hear, the toms are out in the front, and they are not going to be buried when you use this method. Remember to start with the master mix bus at about -10 dB since the master level will increase with every drum that enters into the mix.

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