From the course: Drum Mixing: Techniques
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Widening the image with stereo overhead mics
From the course: Drum Mixing: Techniques
Widening the image with stereo overhead mics
- So after the kick and snare, the next most important thing is the overheads because that's gonna affect both the kick and snare and give us all the cymbal information. (drum and cymbal beats) While we got a good basic sound in tracking, what I'm looking for here in the mix is more clarity. The way to get tight, punchy sounds is through clarity, so in this case, we'll achieve that by rolling out some low-mid's, some upper-mid's in the 3K, 3K-5 harshness range, maybe add a touch of top-end, and we'll try some compression. (drum and cymbal beats) When you switch the EQ out and back in again, you can immediately here those problem areas disappear. (drum and cymbal beats) I used a fast-attack setting on the board compressors to push the snare drum back and pull the cymbals forward in the overheads. I can vary the release time of the compressor to work with the tempo of the song and make the cymbals kind of goosh up and get all exciting sounding. This is where transparent compression is…
Contents
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Starting with kick drum inside and front mics5m 51s
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Bringing in the snare drum and bottom mics6m 9s
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Widening the image with stereo overhead mics4m 34s
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Focusing the groove with the hi-hat mic4m 5s
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Utilizing the crush track printed during recording1m 36s
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Getting larger-than-life sounds from the rack tom and floor tom mics8m 6s
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Going further with ambience and balance4m 18s
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