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I am quite happy to bring you this article, long as it is, because I believe that mixing drums speaks to the very core of who we are as engineers. Indeed, speak to a fellow in the trenches of drum mixing, and you’ll hear this person identify with a particular technique as one might identify with a political party.
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And, as it sometimes goes with politics, we can forget why we subscribed to a particular way of mixing drums in the first place. That’s why I thought it would be beneficial to break down two techniques for mixing live drums, delving deeply into their steps, but also cover why we might employ one over the other.
The aim here is to help you handle any drums that come at you; sometimes, drums are recorded quite badly, or out of step with the rest of the tune. It’s your job to fix it, so familiarizing yourself with multiple techniques can help you get out of specific binds. We shall begin to cover our methods momentarily, but first:
What both techniques have in common
Before anything else, we ought to give a listen to the rough mix and envision the end result. This will govern our drum choices, including how wide our drums will be, and their relative impact within the song.
Also, before mixing in earnest, it behooves us to do a polarity check between microphones (or groups of microphones). We want to make sure the kit sounds its best by choosing the appropriate relationship between each element. Start by panning your overheads hard left and hard right and flipping the phase on one channel. Focus on the kick and snare you do this: do they sound palpably better in of the inversions? Is there more meat in the snare, more heft to the kick? Now observe the stereo field: is there more or less focus? The difference should be glaringly obvious.
Once this is sorted, test more polarity relationships: put the kick against overheads, then snare against overheads, then snare top against snare bottom (ditto “kick in” against “kick out,” and subkick against other kicks, if these are offered), hats against overheads, toms against overheads, and room mic and against overheads. We do this to build the most cohesive sound we can, looking for fullness, roundness, and no obvious loss in frequency ranges.
Soon your ears will tell you instantaneously what is right, but if you’re having trouble distinguishing the best sound at first, here’s a tip:
Set up an easy-to-read meter on the output of the session; something like iZotope Insight will do the trick. Solo the elements you’re checking (say kick against overheads) and watch the meter over a period of four bars. Flip the polarity of the element in question (the kick, for argument’s sake), and see which configuration gives you the louder reading; usually, the more in-phase alignment will yield a louder result. It may not yield the better result, but it may indicate which one is technically correct.
But also consider that technically correct might not be the best kind of correct, as Michael Stavrou is quick to point out: sometimes character comes from the lesser of two choices. Still, when you’re just learning, seek out the more in-phase choice; learn the rules before you’re confident enough to break them.
Once polarity is sorted, we can move on to our various methods.
1. The outside-in drum mixing method
In this method, we move from the overheads out to the close mics. This technique works great for big, naturalistic drums recorded in roomy environs—where the leakage between mics sounds great, and gating doesn’t usually enter into the picture. For a rock, jazz, or acoustic sound that lives and breathes, this is the method to try. The one drawback is that you live or die by the quality of your overheads—the rest of your drums will fall behind them. So if you’re working against an overhead sound you don’t like, this technique might not be best. It also might not be suitable for an overly dense mix with electronic percussion—one in need of an up front drum sound.
Overheads: With our goals for the mix firmly in mind, play with the panning of the overhead tracks, using the technique outlined in this article to answer questions such as, do we want a centered snare? Or does that not matter, considering the rest of the arrangement? Maybe mono is the answer?
Only after establishing this picture do I listen for tonal peculiarities. Is there a harshness in the cymbals? Is there low end rumble I won’t need? I can do minimal EQ adjustments here, not to the left or the right mic, but to both together, as I’ve routed their outputs to a stereo aux track.
Indeed, I find it best to treat the overheads as a single, stereo sound. You may hear issues in the right channel not prevalent in the left, and this may call for individual EQ later on, but for the majority of your decisions, try to look at the overheads as a single picture, so you make uniform decisions that don’t throw one mic out of whack with the other.
Next I secure a good level for the overheads, balancing them against other instruments in our mix—the bass, the harmonic instruments, the vocals. Set about getting a cursory balance between these elements, looking for clarity and suitable impact, and then move on.
Room Mics: Up next is the room mic (though sometimes you get two). The room provides our first means of applying dimensions to the overheads, so we bring it up against the overheads until it’s adding something to the sound—not drawing obvious attention away from the overheads, but complementing them.
Now consider what, exactly, are we adding here? Is the room mic detracting in some frequency range? Address this with EQ if you’d like. Do the room mics need a bit of help in adding perspective? If so, we can try compression, often in extreme measures. With a slower release and a low threshold, you can even out every bit of the drums and the room they occupy. It won’t sound natural, nor will transients be the primary concern—a pancake-flat affect is okay if it’s bringing out the space between each hit, giving the rooms that Led Zeppelin feel.
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Note that the room mic might not need compression. It depends on the variables of the song, which is why we had you listen to the rough before beginning.
Perhaps the room mic is not providing the depth you like, and is a bit too dry. You have two choices here: you can abandon the use of a room mic as a depth-perceiver and turn it into a timbre agent; or you can sweeten the ambience of the room with modest reverbs and delays.
In the former case, the world is your oyster with distortion, EQ, compression, and transient shaping—in short, grab something like Neutron 2 and go hog-wild until you’ve got a cool, signature sound that fits within the context of the mix.
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If you’re going the other route, be subtle in your use of reverb. Choose an appropriate plug-in, favor early reflections, and leave the mix relatively dry. With delays, remember that in-time echoes add perception, whereas out-of-time delays add distinction; we want perception, not identification in this case.
You may find, at this point, that the room mics are overwhelming the picture. Go ahead and rebalance them. In fact, rebalance elements against the overheads constantly as you’re building the kit.
Kick and Snare: Keeping the overheads and room mics in, I usually work on the snare now, bringing it up in level. If I notice a strong papery sound that I don’t like—or a ring that needs dulling—I’ll take care of it with minimal EQ. Omnisphere software update 2. 5 1d free.
Next I bring up the under-snare mic, if it exists, already polarity-checked as outlined above (I’ll want it to add crispness without taking away body, and one polarity setting will usually beat the other).
I use the bottom snare for high-end crispness on the hardest snare hits, so I bring it up in volume to a suitable point, high-pass it a little, and make sure that when the snare really hits, we get a crispy sound from the under-mic. Sometimes I’ll gate the chain so it only plays on the hardest hits.
Now I move on to the kick mics. For just a moment, I’ll solo the fullest kick and the bass instrument, looking for overlapping frequencies, and making the decision of who occupies the lowest of the lows. When this question is answered, I notch down the overlapping frequency range either from the kick or the bass (Neutron 2’s Masking Meter can be a good help for), and unsolo everything. If multiple kick mics are offered, I bring them in here and balance them.
We’ve now got kick, snare, overheads, rooms, and bass, all at full volume. Music and vocals probably dwell a little lower.
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Presently I make decisions for compression and EQ on the kick and snare, and these vary from song to song. On snare, I like to boost whatever low-midrange frequency I can get away with to give heft without interfering with everything else; on kick, I like to emphasize the click of the kick—the 2–4 kHz region that gives it some snap—and perhaps boost the low end. The use of compression here is entirely up to your tastes and the songs needs.