Pro Audio Files

Mixing Drums with Waves SSL and Lexicon Reverb

Transcript
What’s up, guys? Today let’s talk about big, roomy drums.

I’ve got some drum tracks. They’re pretty roomy, and I’m going to show you how I got them that way. I’m going to show you how they started, and I’m going to kind of walk you through the process using a little bit of reverb. Primarily room mics, some SSL stuff, some Waves stuff.

But yeah, anyways, let’s get into it.

Here, let me just play the track. This is the finished mix kind of track. So.

[drums]

Right. Pretty roomy. Got all the toms. This is sort of an instrumental piece. Really just a sound check we did. So we’ve got a couple of things going on.

Let me break it down to just the mics in the room. So I’m going to take this reverb send off.

We’ve got kick, we’ve got a kick sub, snare top, snare bottom, hat, some stereo prints of toms, overheads, and rooms, and this is what they sound like.

[drums]

So the room is pretty big as it is, which is important. If you want a bigger room, big drums, stick them in a big room. Tall ceilings, hard surfaces on the floor if you can get them. Wood or tile. A lot of times, if you record in your house and stuff, you may be stuck with carpet in a bedroom, which can be tough.

But anyways, we’ve got these room mics, which are kind of key. I’m going to play — I’m going to mute the room mics so you can hear what that sounds like.

[drums]

Right. Here’s with them.

[drums with room mics]

Without.

With.

Without.

With.

So the room does a lot.

Here is what the room sounds like.

[room mics]

Probably I think two and a half or three feet off the ground. Six to eight feet in front of the kit, really kind of pointed at the drums. I like my room mix — or my room mics to be a little more bass heavy than cymbal heavy when I track them.

Here’s what it sounds like without this plug-in on it. So this is an SSL channel strip on that room mic track.

[room mics]

Kind of dull sounding. Then when I mixed it, I brightened it up, so we have high pass filter at 50, because you know, we’re not going to the club, so we don’t need anything much below that.

Boosting 8kHz. Boosting 1.5kHz. You know. Wide-ish kind of Q. Not super wide. Then we’re cutting some 50. That’s what that — I’ll go back and forth here.

[room mics, with and without EQ]

Without.

With.

So that in itself brings a lot of air into it. It gives a little more space just by getting rid of some of that low end garbage and bringing out some of that 8kHz, 1.5kHz. These are all things. You could even go 10kHz, 12kHz, experiment there, see what that does to your room mics.

So that’s one part of the equation. That gets us to this point with the reverb.

[drums]

Right. And also take notice, like, this room mic is down minus 6.8dB. Let’s see what happens when I bring it up. You can check that out.

[drums]

Right. The whole kit kind of — that room gets a little deeper. But maybe — I like the air on the cymbals, right? I really just want the kick and the snare and the toms to be a little deeper.

So this is what I did. Create a stereo aux, I labeled it “Big Verb.” We used a Lexicon PCM reverb — the Vintage Plate. This is literally just a preset I pulled in. Drums and percussion, big drums is like the first one. I’ve got 18 milliseconds of pre-delay. Decently long reverb time. I’m not going to get too crazy with this stuff.

And basically, we sent kick, snare, and toms to it. My kind of rule of thumb is when I’m sending sort of tracks to effects sends, I’ll start at minus 10dB, and then kind of tweak from there. These I think actually all got brought down a little bit.

Yeah, like minus 12ish on each one.

Here’s what just the reverb send sounds like.

[Lexicon PCM reverb]

Right. Pretty crazy. Here’s what it sounds like with the tracks.

[drums]

Here’s without.

[drums, no Lexicon]

With.

And we really listen to the toms. The toms, the snare, the kick, the drums themselves are what you’re going to hear the space on.

With.

[drums]

Without.

With.

Without.

With.

It gets a little darker. It sort of rounds the drums out. It takes a little bit of clarity out of them, but I get the depth that I want, so essentially what we’re doing is — so basically there’s a lot of low information on that reverb send, so we’re going to drop this four-band Renaissance EQ, and essentially, we’re just doing a high pass filter.

I rolled it up to 120. Here’s what our reverb send sounded like without the EQ.

[Lexicon without EQ]

With.

Without.

With.

So it really gets rid of that kind of low stuff, because really, we just want the air. We want that kind of all the top end on it.

Again, leaving room in the low end to let the kick drum do what it needs to do, and eventually a bass guitar. Let it do what it needs to do.

So here’s the entire thing with the reverb. Check it out.

[drums]

Without.

With.

Without.

With.

Without.

With.

There you go, guys.

Really subtle. I mean, reverbs, delays, really subtle things. EQing really subtle things, not a lot of super crazy, dramatic stuff, other than the crush buss.

But anyways, I hope that helps you out. If you like the video, give it a thumbs up. Leave me a comment. If you want to know some other stuff, I’m going to do some more tutorials. If there are any plug-ins you guys may want me to talk about a little more that you see me using or just some other stuff you like to see, let me know, I may have it in my rig.

Yeah, thanks a lot, I’ll see you next time.

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