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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.
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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