How To Mix BIG and PUNCHY Drums! (Metal Mixing Tutorial)

Summary

In this video, the creator demonstrates the process of transforming raw drum tracks into a polished mix. They detail their approach to EQ and compression for each drum element, including kick, snare, toms, and overheads. The video also explores the use of parallel compression to enhance punch and sustain while maintaining the tracks' vitality. Additionally, the creator discusses blending room tracks with snare for a fuller sound and the importance of processing individual tracks with a purpose in mind.

Takeaways

• 🎙️ The video is a tutorial on mixing drums for a song, emphasizing that there are multiple ways to achieve good sound.
• 🔊 The kick drum track starts with an EQ to remove dullness, using high-pass, cuts at 100 Hz and 200 Hz, and a low-pass filter.
• 🗜️ A compressor is used on the kick with slow attack and fast release, aiming for 3 dB of gain reduction.
• 🎚️ Console saturation and high-end boost are applied to the kick for additional warmth and clarity.
• 🥁 A secondary kick track is used to subtly reinforce the main kick, with similar EQ and compression settings.
• 🪘 Snare tracks are mixed with a purpose, focusing on body from the top track and high-end crack from the bottom track.
• 🔄 EQ on snare tracks removes ring frequencies and boosts certain frequencies to enhance body and crack.
• 📈 Compression settings vary between snare tracks, with fast attack used for the bottom track to enhance sustain.
• 🏷️ Room tracks are considered part of the snare sound, with close and far tracks providing different smack characteristics.
• 💥 Saturation is key in processing room tracks, adding depth and character to the snare sound.
• 📉 A parallel compression track is used to add punch and sustain to the drums without over-compressing individual tracks.

Q & A

What is the main focus of the video?

The video focuses on demonstrating the process of mixing drums for a song, transforming the raw drum tracks into a polished mix.

What is the first step the video creator takes in mixing the drums?

The first step is to disable the processing on all tracks and start with the kick drum, adjusting its EQ to eliminate dullness.

What is the purpose of using a high pass filter at 45 hertz on the kick drum track?

The high pass filter at 45 hertz is used to remove low-frequency content that is unnecessary and can make the kick sound muddy.

How does the video creator approach the snare sound?

The video creator mixes each snare track with a specific purpose, extracting different characteristics like body and high-end crack from various tracks.

What role do room tracks play in the snare mix according to the video?

Room tracks are considered part of the snare tracks and are used to capture the small and big smack sounds of the snare.

What is the reason for using multiple compression settings on different drum tracks?

Different compression settings are used to control the dynamics of each track, aiming for specific amounts of gain reduction to achieve the desired sound.

How does the video creator use saturation in the drum mix?

Saturation is used to add warmth and character to the drum tracks, enhancing their tonal quality and presence in the mix.

What is the function of parallel compression in the drum mix?

Parallel compression is used to add punch and sustain to the drums by compressing a separate set of tracks heavily and blending them with the original tracks.

Why does the video creator use different EQ settings for the overheads track?

Different EQ settings are used to balance the brightness of symbols from different drum kits and to cut out unnecessary frequencies that may clash or muddy the mix.

How does the video creator handle the processing of the hi-hat and right spot mics?

The hi-hat and right spot mics are processed to give the hi-hat more presence and percussiveness, with similar plugins as the shells group track to integrate them into the overall drum sound.

What is the final step the video creator takes to complete the drum mix?

The final step is to listen to the mix and ensure all the drum tracks work well together, providing a cohesive and polished sound.

Outlines

00:00

🎶 Mixing Drums: Kick and Snare Processing

The speaker begins by explaining their personal approach to mixing drums, emphasizing that there is no one-size-fits-all method. They start with the kick drum, using EQ to remove dullness by applying a high-pass filter at 45 Hz, cutting at 100 Hz and 200 Hz to eliminate boominess, and boosting highs. Compression is applied with a slow attack and fast release for about 3 dB of gain reduction. Additional saturation and high-end boosting are used for further shaping. A secondary kick track is used for subtle reinforcement, also processed with EQ and compression. The snare tracks are discussed next, with the speaker focusing on extracting specific characteristics from each track to achieve the desired snare sound. The top snare track aims to provide body, with EQ adjustments to reduce ringing frequencies and boost at 150 Hz, while the bottom track uses fast attack compression for more sustain. Room tracks are included in the snare mix, with EQ and compression applied to enhance the smack of the snare.

05:05

🥁 Snare and Tom Processing in Drum Mixing

Continuing with the snare bottom track, EQ adjustments are made to reduce ring frequencies, with a fast attack compressor for sustain. The room tracks, considered part of the snare, are processed to bring out the smack of the snare, with EQ to cut ringing frequencies and boost lows and highs. Compression is used for sustain and saturation for warmth. Dedicated reverb tracks for the room tracks are set up with a band pass and low decay time to give the snare a bigger sound. The toms are then addressed, each with individual EQ and a group track for further processing, including EQ, compression, saturation, and limiting. The parallel compression track is introduced to add punch and sustain without over-compressing the individual tracks, using heavy compression and EQ to achieve this effect.

10:07

🎚️ Final Touches: Overheads, Hi-Hat, and Mix Integration

The video script concludes with the processing of overheads, hi-hat, and right spot mics. The overheads track includes EQ to cut ringing frequencies and boost highs, with compression set to respond to the snare. A reverb is added to the overheads for a wider sound. The hi-hat track is processed for more presence, and the right spot mics are included for additional percussiveness. All these tracks are then routed to a symbols group track, which has similar processing to the shells group track. The final mix is played, showcasing the integrated sound of all the processed drum tracks, demonstrating the effectiveness of the mixing techniques discussed throughout the script.

Keywords

💡Mixing

Mixing in music production refers to the process of adjusting the balance and interaction of individual elements within a multi-track recording. In the video, the speaker is demonstrating how to mix drums for a song, which includes adjusting the levels, EQ, compression, and other effects to achieve a polished sound. Mixing is crucial for creating a cohesive sound that translates well across different playback systems.

💡EQ (Equalization)

Equalization is the process of adjusting the balance of frequency components in an audio signal. In the context of the video, EQ is used to shape the tonal quality of individual drum tracks such as the kick, snare, and toms by cutting or boosting specific frequencies. This helps in eliminating unwanted 'mud' or 'ringing' and enhancing the desired characteristics of each drum sound.

💡Compression

Compression in audio engineering is used to reduce the dynamic range of an audio signal, making the loud parts quieter and the soft parts louder. In the video, compression is applied to various drum tracks to control their dynamics and achieve a consistent level, which helps in making the drums sound punchier and more cohesive in the mix.

💡Saturation

Saturation refers to the process of intentionally distorting an audio signal to add warmth and character, often emulating the sound of analog equipment. In the video, console saturation is used to add harmonics and depth to the drum tracks, giving them a richer and more vintage sound.

💡Kick Drum

The kick drum is a critical component of a drum kit, often providing the bass and rhythm foundation of a song. In the video, the speaker focuses on processing the kick drum track to eliminate boominess and enhance its punch and high-frequency presence, which is essential for making the kick drum stand out in the mix.

💡Snare Drum

The snare drum is another key element of a drum kit, often providing the backbeat and rhythmic punctuation. In the video, the speaker discusses the importance of combining different snare tracks (top, bottom, and room mics) to achieve a balanced snare sound with body and crack. This illustrates the layering technique used in drum mixing.

💡Tom Drums

Tom drums are the cylindrical drums in a drum kit that provide mid-range tones and fills. In the video, the speaker shows how to EQ and compress individual tom tracks and then blend them into a group track for a cohesive sound. This process helps in achieving a balanced and impactful tom sound within the mix.

💡Parallel Compression

Parallel compression is a mixing technique where a heavily compressed version of an audio track is blended with the original, uncompressed track to add punch and sustain while preserving the original dynamics. In the video, the speaker uses parallel compression on the drum tracks to enhance their impact without losing the natural feel of the performance.

💡Reverb

Reverb is an audio effect that adds a sense of space or depth to an audio signal by simulating the natural reflections of sound in a physical environment. In the video, reverb is used on the snare and tom tracks to give them a larger, more spacious sound, contributing to the overall width and depth of the drum mix.

💡Group Track

A group track is a channel that combines multiple audio tracks, allowing for collective processing and adjustments. In the video, group tracks are used for the toms and cymbals, where individual tracks are processed separately and then sent to a group track for additional EQ and compression. This streamlines the mixing process and helps in achieving a balanced sound across related tracks.

💡Cymbals

Cymbals are the metallic, percussion instruments in a drum kit that provide high-frequency accents and fills. In the video, the speaker discusses routing the hi-hat and spot mics to separate tracks and then processing them in a symbols group track to enhance their presence and percussiveness in the mix.

Highlights

Disabling processing on all tracks to demonstrate the mixing process from scratch.

The importance of mixing drums to achieve a desired sound for a song.

Different approaches to mixing drums are acknowledged, emphasizing the subjective nature of the process.

Starting with the kick drum, using EQ to remove dullness and enhance clarity.

Applying a high pass filter at 45 Hz to the kick drum to eliminate unnecessary low frequencies.

Using a compressor on the kick drum with a slow attack and fast release for a traditional sound.

Adding console saturation to the kick drum for warmth and depth.

Reinforcing the main kick with a secondary track for a fuller sound.

Mixing snare tracks with a purpose, extracting specific characteristics from each track.

Using EQ to remove ring frequencies and enhance the body and crack of the snare.

Room tracks are considered part of the snare tracks, adding to the overall snare sound.

Applying fast attack compression to the snare bottom track for better sustain.

Using saturation on room tracks to enhance the snare's smack sound.

Adding reverb to room tracks to give the snare a bigger sound.

Processing toms with individual EQ and sending them to a tom track for a cohesive sound.

Using a parallel compression track to add punch and sustain to the drums without losing their life.

Applying aggressive EQ settings on the parallel compression track to achieve heavy compression.

Overheads track processing includes EQ, compression, and reverb to blend cymbals and other elements.

Hi-hat and right spot mics are used to add presence and percussiveness to the mix.

Final mix includes all tracks, demonstrating the transformation from dull to polished.

Transcripts

today i'll show you how i take my drums

from something like this

to this

i'll be mixing the drums for the song i

wrote for this video if you haven't seen

it yet you can click in the upper right

corner to go to that video so let's

disable the processing on all of the

tracks and walk through how i mix each

track one by one small disclaimer of

course this is only how i mix my stuff

of course there are a million ways to

mix and no way is necessarily better

than the other if it sounds good it

doesn't matter how you got there but

okay let's start with the kick let's

listen to what this track sounds like

without any processing

sounds kind of dull so let's do

something about that first up there's an

eq here starting with a high pass at 45

hertz and then there's a very small cut

at around 100 hertz and next up there's

a very large cut at 200 hertz to

eliminate some of that boominess and

then cutting some mids and then cutting

some high mids and also boosting some of

the highs and also a low pass here so

this is what the eq looks like for the

kick next up there's a compressor here

with some fairly traditional settings so

slow attack and fast release and the

four to one ratio aiming for about three

decibels of gain reduction next up we

have some console saturation here as

well as a small boost to the high end of

the track and lastly we have some more

saturation so let's listen to what each

plugin does to the sound of this track

[Music]

i also have another example here

reinforcing the main kick track i think

this is actually steven slate trump's

kick 10. so this is what it sounds like

unprocessed

as you can hear it's very low in the mix

it's only there to reinforce the main

kick in a very subtle way as with the

main kick track it starts with an eq

here with a high pass cutting out some

mud also cutting out some of the mids

and high mids and also boosting some of

the highs and it also has compression

with similar settings as well as console

saturation and a bump to the heist and

also some more saturation so let's

listen to what each plugin does to this

track

and this is what the two tracks sound

like together

[Music]

by the way if you're new here don't

forget to hit the subscribe button and

ring the bell so you don't miss any of

my future videos but okay so let's take

a look at the snare tracks i think an

important thing to realize when you're

mixing the scenario is that most likely

each snare track is gonna sound quite

awful on its own you are unlikely to get

the snare sound that you have in your

head from just one track i find what

works for me is mixing each track with a

purpose so i'm trying to extract a

certain characteristic with each track

that i want in my snare so for the snare

top track i'm trying to get the body out

of the snare and from the snare bottom

track i'm trying to get the high end

crack out of the snare and i kind of

consider the room tracks to be part of

the snare tracks as well as they have

mostly the snare in them so for the room

close track i'm trying to get the small

smack out of snare so to speak

and from the room far track i'm trying

to get the big smack but okay let's take

a listen to what the snare top track

sounds like unprocessed

first up there's an eq here that

completely demolishes some ring

frequencies i noticed let's see if you

can hear what it eliminates

and then i have another eq press the

high pass and then a very small boost to

150 to get a bit more body out of the

snare and then the small cut in the

lower mids another cut in the mids and

another big cut in the high mids and the

small boost to the heist let's listen to

what this eq does

[Music]

it sounds kind of dull but again the

idea here is that this track should

provide the body of the snare so it's

okay and again we have a compressor with

the same settings so slow attack fast

release four to one ratio aiming for

about three decibels of gain reduction

we have some console saturation small

boost to the highs and some more

saturation so let's listen to what each

of these plugins does to the sound

[Music]

let's go over to the snare bottom track

starting with an eq again cutting out

some of the ring frequencies of the

snare and then another eq which kind of

mirrors that of the snare top track and

again a compressor but here i actually

have a fast attack as i found that

worked better for this track and i

actually have another compressor here

that gives this track a bit more sustain

and again some console saturation and

small boost to the heist and also some

more saturation so let's listen to what

each plugin does to the sound of this

track

let's actually go straight to the room

tracks now as those contain mostly the

snare so this is what it sounds like

unprocessed

so let's go over the plugins on this

track first up again there's an eq

cutting out some of the ringing

frequencies of the snare and then we

have another eq that is very similar to

the snare top track boosting some low

mids here also cutting out some mud and

some mids and also a fair bit of the

high mids and also boosting some highs

again we have a compressor set to fast

attack and fast release to give the

track a bit more sustain and also

another compressor also aiming for about

three decibels of gain reduction we have

some console saturation and also small

boost to the eyes and some more

saturation saturation actually sounds

really good on the room tracks so

there's a fair bit of it here so let's

listen to what each plugin does to this

track

[Music]

and the processing on the room far track

is basically identical to the room close

track it sounds like this

[Music]

and each of the room tracks also has

their dedicated reverb track as well

they are fairly low in the mix but they

give the snare a bit of a bigger sound

let's just quickly have a look here at

the setup of the rev track so first up

there's just a band pass here and then

we have the reverb fairly low decay time

and we also have the center plug in here

to make it sound a bit more wide so

let's listen to the room far track here

with and without a reverb

[Music]

it's very subtle but i think it gives

the snare a bit of a bigger sound so

let's listen to all of the snare tracks

together that is the snare top track

snare bottom track

but also the room tracks as i consider

them to be basically additional snare

tracks

[Music]

alright let's move over to the toms so i

have four tone tracks here each of them

has an individual eq with a high pass a

small boost in varying places in the

lows and then they all get sent to a tom

track which starts with an eq so we got

a high pass cutting out some mud in the

lower mids again cutting out some mids

also cutting out some high mids as well

as boosting the highs we have the by now

fairly familiar compressor plugin again

aiming for about three decibels of gain

reduction we have some console

saturation small boosted eyes we have

some saturation and we have a small

limiter just to bring the volume up a

tiny bit we also have two reverb tracks

just to give the toms a bit of a larger

presence in the mix so this is what each

of the plugin does to the thomps

[Music]

track and all of the shell tracks is

actually piped into a shell's group

track where i do some additional bus

processing it starts with a very simple

eq just a tiny high pass and the low

pass also cutting out the tiny amount of

mud here in the low mids as well as

cutting out some sharpness in the higher

mids and we also have a compressor here

which adds a fair bit of nice saturation

but also brings down some of the peaks

which gives these tracks some glue and

also a bit more sustain and then we have

another compressor which has the same

role and again just basically repeating

the eq we had at the beginning so let's

listen to what these plugins does to the

sound

[Music]

so let's go to one of my favorite tracks

here the parallel compression track the

idea here is instead of compressing each

individual track so much that it

completely sucks the life out of the

tracks you send all of these shell

tracks to different tracks which

basically annihilates the tracks and

compresses them to hell and back and

then you blend that track in to give the

drums a bit more punch a bit more

sustain but still retaining the life of

the tracks so to speak so let's go over

the plugins that are on this track

starting with a familiar eq cutting out

some ring frequencies from the snare

then we have a basic eq here cutting out

some of the high mids and cutting out

some of the low mids because these

frequencies tend to build up when you're

compressing heavily and then we start

the compression chain here with fast

attack fast release and actually aiming

for about 10 decibels of gain reduction

here and then we have another compressor

again aiming for about 10 decibels of

gain reduction and then we basically

have the same eq here we have our

console saturation a bit of a boost to

the highs we have some saturation and we

have a limiter which further compresses

the tracks so this track sounds like

this

it sounds awful on its own but when

blended in with the rest of the tracks

it gives the drums a bit more punch and

a bit more sustain than mix let's listen

to the drums with and without the

parallel compression track

definitely gives them a bit more punch

so alright let's take a look at the

overheads track i actually have symbols

from both modern and massive and also

invasion so i route them to different

tracks here so i noticed that the modern

massive tracks are are a bit brighter so

to kind of level that out the modern and

massive track dials down the highs of

the symbols a bit while the invasion

tracks brings up the highs of the

symbols a bit and those are then fed to

the overheads track which sounds like

this unprocessed

[Music]

so let's go over the plugins on this

track starting with an eq cutting out

some of the ringing frequencies of the

snare then we have a simple eq here

fairly aggressive high pass also cutting

some low mids some mids some high mids

but also boosting some of the highs then

we have a familiar compressor here again

aiming for around three decibels of gain

reduction this compressor is basically

just responding to the snare here and we

have some console saturation boost to

the high and some minor saturation and

the overhead track actually has their

own reverb as well so let's listen to

what each plugin does to this track

[Music]

i also have tracks for the hi-hat and

the right spot mics so for the hi-hat

track this is basically just here to

give the hi-hat a bit more presence and

percussiveness to the mix and the same

goes for the right track and then all of

these are piped into the symbols group

track which has essentially the same

plugins as a shells group track so

that's all of the tracks let's listen to

what it sounds like

and this is what it sounds like in the

mix

[Music]

[Music]

thanks for watching this video if you

enjoyed it there might be another video

on the screen that might also be in your

interest and don't forget to like and

subscribe see you in the next video