let's get started with the drums
microphone live
hi everybody this is lance campeau from
microphone dot live video series on
YouTube that showcases how I write and
record songs before we get started I
just like to ask your help and to share
these videos with your friends on social
media or like-minded individuals that
you feel might learn a little bit about
what it is I'm doing or might be
interested I would appreciate that a lot
so we're going to get started with what
I think most of my subscribers are
interested in seeing how do i record the
drums now been playing for about 25
years and i've been recording the drums
for almost as long and the computer
environment is an excellent place to
record drums i used to do it on tape
years ago and it was a big headache back
then you need all kinds of hardware and
all kinds of cables and everything it's
not so much the case these days the
price of equipment has gone way down not
just a musical equipment but computer
equipment soundcards the software
everything has gotten way more powerful
and a lot less expensive and that gives
most people the ability to record some
really excellent audio right in the
comfort of their own home so we're going
to start off by taking a look at the
drumset then we're going to go over to
the workstation and see how it all gets
put into the computer so here's the
drumset it's a basic 4-piece kit with
the hi-hat to crash cymbals and a ride
and a little set of auxiliary hats in
the middle there there are seven
microphones on the entire drum set and I
could literally go on for hours and
hours and hours about the different
types of heads you can use the different
microphone placements the sticks how to
tune the drums properly how to position
microphones to make sure that you don't
get a lot of bleed and things like that
there are hundreds of videos on how to
do this on youtube already so i'm going
to skip over a lot of that very sort of
lengthy discussion about how to do the
engineering of the drum sound really
what it is i'm going to show you guys is
more from an angle of how to do this of
on a bit of a budget but still get some
good results and some of the fundamental
things that I've done over time to sort
of get the best sound that I can within
the space that i have here now to me one
of the most important things when i'm
recording the drums as I want to
room that is quiet that does not have a
lot of natural reverb the drum room is
very small and there's these acoustic
panels all over the place to help absorb
some of the high-frequency reverb in
early reflections lot of people like to
record the drums in a big loud
reverberant room with tons and tons of
reverb and that has a it's there's a
time and place for that sort of thing
but the problem I have with that is once
you've burned that sound into your drum
recording you cannot get rid of it so my
philosophy when it comes to recording
the drums is to make sure that the room
is as dry as possible and then to add
all of the room reverb and early
reflections later on in the mixdown
process this makes for a much more
flexible drum recording that can be used
for remixes and it isn't smeared by the
sound of the room itself now I consider
the overhead microphones to be the most
important part of the recording setup
when it comes to drums you should put
your the most money into this particular
piece of equipment because it's the
primary capture device for your overall
drum sound with a little bit of creative
engineering you can actually record
entire drum set with just a pair of
overheads and get a very good usable
sound i'm using a kg blueline condenser
mics the placement of these overheads is
also pretty important that you can see I
have them place pretty far apart and the
reason why I do that is because number
one I want the microphones to be a bit
closer to the symbols i like to have a
nice wide stereo spread over the top of
the of the kit so that I can have a bit
of flexibility during mixdown and I try
and position them as best i can to be
equal distance from the snare drum
itself as to reduce the amount of phase
issues down the road there are specific
procedures for doing this and I suggest
you go look them up on youtube
let's take a closer look at the
microphones on the drums themselves and
i'll start off with the kick drum now
showcase the microphone on the channel a
couple weeks ago showing you that i was
using this new products fusion series
bass drum microphone placed in the whole
of the kick drum great-sounding little
mike i enjoyed quite a lot
on the snare drum i'm using a pair of
natty DM 70 microphones these are very
very affordable dynamic instrument
Mike's about them at B&H in new york i
have one on the top you can see the
positioning and i have one positioned
very close to the snares on the bottom
on this 12 inch rack tom i also have an
a TDM 70 you can see the position nice
and close but not so close that I might
hit with a drumstick and over on the 18
inch floor tom i have a battle-tested
sennheiser 421 this thing is seen some
better days but it works very very well
even in this current condition now you
can see the ride cymbal and the hi-hat
do not have a close condenser on either
of them and that really underscores the
benefit of recording in a very quiet
padded room the overheads can be several
feet away and because there's very
little room reverb can actually get some
great sound even at that distance if
you're in a larger room you very much
likely have to use an extra set of
condensers on each of these parts of the
kit which can create more phase issues
and complicates the mixdown process
altogether and that's something you'd
want to avoid so I've got a little mini
snake here on the floor that runs back
to the soundcard just seven audio lines
nothing too complicated those seven
microphones are fed over here now
there's two pieces of equipment there's
a bearing or ultra gained two preamp
stereo to prep and i use this for the
overheads now I could just plug the
microphones directly into the tascam us
1800 soundcard there's lots of inputs I
could do that but i like the ability to
have a little bit of control over the
gain and filtering before i get to the
recording stage particularly on the
overheads because sometimes you run into
problems with frequencies that are just
standing out as anomalies in the
recording and it's better to just get
rid of them before you even get them
into the digital audio workstation so
that's why run the overheads through the
preamp and then all of dynamic
microphones go directly into the tascam
which has eight XLR inputs for
microphone
phantom power and it's got a couple of
line Jack's over here if you want to
play the guitar or some line equipment
there's a pair of line inputs on the
back and there's also a digital input on
the sub the sound card as well it's very
very versatile and over here on the
right you can see some gain and monitor
controls and the headphone jack
controller as well now that you've been
introduced to how I position microphones
and how I get them into the computer
I think it's appropriate to just do a
little bit of a recording very much like
what i would do at the beginning of the
session so let's do a quick drum
recording and i'll show you guys what
types of sounds I playing the drum set
to help me calibrate the recording setup
since I'm a one-man shown studio this
demo has to have the entire sonic range
of the drum set in one take
how do you do that it's quite simple you
start off by playing each of the drums
one at a time at different volumes
different speeds to get a sort of a feel
for how each of those drum sounds then
you start combining the drums together
and start doing things like roughs and
fills triplets double bass runs and
things like that that gives you an idea
of how each of the microphones is
reacting to each drum as it's being
played once you've got a sort of a good
feel for that you move over to the
symbols one of the time to test how the
symbols are bleeding into the Tom mics
and that gives you a bit of a heads up
as to what you might need to fix later
on down the road or things that can be
corrected before you start doing an
actual recording session
lastly what I like to do is I like to do
a full range of beats all kinds of
tempos and volumes and combinations so
i'll start off with a basic rock beat on
the hi-hat then I'll switch to a jazz
bead on the ride cymbal and i'll do a
drumbeat that has lots of Tom's maybe no
symbols at all and then things like
simple chokes and crashes and accents to
basically give myself the opportunity so
that I have and a recording that I can
use to engineer the sound from front to
back i forgot to mention that I've
changed the symbols for this particular
recording session I've got some symbols
be 20 here be 5 p-8 stainless steel so
there's a bit of an array of different
sounds
all of these are currently available in
my webstore you'd like to help support
this project please check out the web
store if you're interested in buying
symbol that will help greatly let's get
to the demo
ok now we're all set up in the studio
and I've got this floating avatar camera
thing going on here hope you guys
appreciate how much time it took to set
all this up
what I'm going to do here is I'm going
to take the audio tracks that have
recorded in Sony Vegas Pro and i'm going
to shape them using some equalization a
little bit of compression going to start
down mixing them into buses and then
applying a little bit of effects as well
so i'm assuming that you guys have
already figured out your hardware and
have gotten your audio tracks into your
computer and now you're thinking well
how do i mix these audio tracks together
let's have a look at some of the audio
tracks individually and i want to
explain a particular problem that I had
when I first started recording and let's
take a quick peek here at the track so
we have this kick drum stared sorry
kick kick drum snare drum top snare drum
bottom rack Tom floor tom stereo
overhead the stereo overheads I realized
I made a mistake when I was tracking the
right channel was 6 decibels louder than
the left channel so before i start
mixing anything i drag those tracks into
adobe audition so I already made some
corrections here i'll go back to show
you i'm talking about and adobe audition
is a two track editor they also have a
multitrack section but it's not very
good so that's why use Sony Vegas for
multi-tracking and then i use adobe
audition for audio track editing it's
it's a very good to track audio editor
now you look you'll see the this the
peaks on one side on the right channel
or a little bit higher than the ones on
the left and you can check this
numerically using a tool in adobe
audition called amplitude statistics
it'll do an analysis of the track and it
will show you that you can see here on
the Left track the average rms power is
minus 41 decibels and the average rms
power of the right channel is minus 35
which is a six decibelle difference so
how do you correct this very simple you
just select the entire track and then
you use a an amplitude
plug-in and I increase the gain of the
left track by three decimals and I
decrease the game of the right track by
three decibels that's six decimal
difference you apply that to the entire
stereo two tracks and all of a sudden
you've got two tracks if you do an
amplitude statistic analysis and take a
moment here you'll see that the average
rms value of both tracks is now very
similar minus 41.8 7-14 1.83 and you
need to have an assumption average
that's very close so that not a sum
average but I'm an rms average that's
very close because you want your stereo
channel to be balanced and equal so
before you do any mixing you have to
make sure that you've got your gains set
properly and if they're not set properly
with the hardware which is the preamp
you have to correct the games later in
the software using a plug-in and that's
how I occasionally do it
so instead of going back and re tracking
and and doing everything again I make
sure you get it right by setting the
games properly or using a plug-in to
correct it
so that's one problem i ran into when I
was tracking and now i'm going to do a
procedure that I like to call ringing
out now ringing out is a is something
that you do in live sound whom I had the
spirit and wringing out is it's it's
when you start turning up gains in a
monitoring system during a live show to
sort of find out what frequencies are
going to feedback and you use in
equalizing equalizer to do that and do
something very similar here and in the
audio editor with the snare drum and
i'll explain i'll try and go through
this quickly to show you guys what I
mean
so let's find a section of the top snare
drum microphone which is here
right there that snare drum hit here has
a nice ring to it
I say nice meeting you luck because i
don't like snare ring too much a lot of
ringing so how to get rid of that
ringing well first thing you have to do
is isolate the ringing right here now
you can hear it and then i use a
parametric equalizer which I've already
set up and i'll explain to you how this
works i have for frequencies that I've
already isolated so i justjust a safe
time here 459 hurts 709 hurts 968 and
1349 hurts these are the offending
frequencies and i'll show you how it
sounds when you turn on this equalizer
one at a time so let me turn off each of
these like that and then i'll let I'll
play it and you can hear how these the
overtones will start to disappear once i
turn on each of those bands in the
parametric equalizer so let's let it
roll start with number one and just
listen to the difference as I turn them
on them off again
let's get them all back on a little bit
more under control so that's the first
thing I do in an audio mix every time is
I try and get rid of those really gnarly
overtones from the snare drum top head
now let's listen to it as the as the
whole thing will turn this off you can
hear the drum and i'll turn it on and
off you hear the difference off on a
little bit more manageable and
controllable the reason why you want to
get rid of those overtones in the
frequencies the snare drum is supposed
to have a certain amount of snap to it
and if you have that those those ringing
overtones just blaring you can use
dampening you can put moon gels on the
snare drum you can put tape or whatever
you want to get rid of it but if you
still have too much ring this is a very
easy way to get rid of it
those rings that ringing will also get
picked up by the overheads by the Tom
Mike's so you kind of want to get it
under control the easiest way to do that
is to slap a parametric EQ on the snare
drum mic itself so the first thing we've
done is we've done subtractive
equalization on the snare drum that's
the first thing i do every single time
that I do a mix so now let's go to the
kick drum and find what frequencies
aren't working so well in the kick drum
so we got to turn the gain down this one
and let's find a kick drum mic find a
good good kick right there that one grab
one sounds pretty good already I'm
pretty impressed with those audax
microphones that that f6 kick drum mic
biotics pretty good sounding kick drum
mic right out of the box but let's see
if there's anything that we can improve
on it so let's go to the to the area
just after the initial transient
right here one frequency and there I
don't like turn up a bit there
ok we'll go to the EQ is going to
flatten out the eq and we're going to
start by just finding what that one
frequency is that's not working so well
about 980 hurts
sounds like somebody was like somebody
getting their face lap so we're going to
get rid of that 988 dump that put a big
fat knot right there
I like that already there
483 so we'll split the difference
widen it out right there
turn it off better
okay i want to meet you guys ears to
death by playing these things over and
over i could honest-to-god guys I could
spend an hour doing this but just to
give you an idea of some of the basic
things I do
ok so that's the kick drum and the snare
drum that's ready to do that sort of the
first stage now i'm going to go over to
the Tom's this the snare drum bottom
will come back to later because I got a
real problem with snare buzz on this
particular recording and i'm going to
detail that correct some corrective
action i took their let's go to the
Tom's here this one
the rack Tom 12-inch right there
that one will do the same thing again
we're going to bring out a little bit
and I'm going to shape the sound of this
the rack time using the equalizer a
little bit more than i would the other
drums so let's hear it
okay i'm going to use this equalization
patch because it's already done just to
give you an idea of where i would
typically start with a rack Tom the rack
Tom on this particular equalization
pattern has it there's three frequencies
that adjusted i wanted to add a little
bit more low end to that 12 inch rack
tom so i started with a boost six
decimal boost at 90 hurts then a big dip
at 350 and then a little bit of boost at
5k to bring the snap of the stick out
and you don't want to boost the high
frequencies of the toms too much because
they pick up the symbols a lot those
much those microphones and if you have a
gate on those Mike channel or those
channels that can create some real
problems down the min in the mix later
on and we'll go over some of those
details as well so let's take a listen
back and forth with the EQ on and off
thats off on much warmer sound hear it
here and I'll isolate just that that
ringing yuck
there it is because offering you get the
idea now let's move onto the floor tom
ok turn that off ok the floor tom is
using the sennheiser 421 microphone the
sennheiser 421 has a built-in frequency
roll off switch has a five position so
you can use that to sort of trim off
some of the really low end off the
microphone
it's in the middle position right now
for those of you who are familiar with
that microphone you know what I mean
that's a isolate that that floor tom and
i don't think i soloed this the rack Tom
when just now did I
anyway here's the floor time let's crank
it up a bit and the same idea here again
it's a lot of subtractive EQ and I have
to be extra careful with the floor tom
night because it's right beside the ride
cymbal and it really picks up the ride
quite a bit so this is the equal of the
eq patterns i would typically use on the
floor time I roll off a lot of the low
end because it's a big 18-inch floor tom
there's a lot of rumble to it so I don't
want to get too much of that in my mix
and there's a couple of offending
frequencies
I think I've retuned this drum a little
bit since the last time I edited it so
let's just see if this works that what's
here currently on the screen there's
lots of dips at 159 there's a dip for
500 Hertz there's a dip and there's a
boost at 7k let's hear it off on that
doesn't sound good
the equally q that's here it has no body
so we're going to shape this right now
I'm just going to do it in real time i'm
not going to talk you just listen
boxy very flat and boxy when it doesn't
have the equalization and i've added
some of that frequency that are rolled
off originally by boosting at 60 Hertz
by about ten decibels which is a bit
much
you don't really want to boost that much
usually this off warm nice
the difference is on this particular
drum and microphone combination is that
there's a lot of frequencies around 300
Hertz that really make the drum sound
like you're hitting a cardboard box so
getting rid of some of those low mids
and then boosting some of the really
deep bass and getting a little bit of
presence with a boost around 7k brings
that floor tom when you really start
hitting a lot you start to hear the the
articulated to the strokes of the stick
a little bit better gonna roll down the
base of touch
there we go about 60 Hertz
seven-and-a-half and we're gonna leave
it like that i know this video is going
to be pretty long so I appreciate you
guys sticking with me here so I've got
the four drums sort of out-of-the-box
pre-mixed up a bit and I've got a
section of the audio where I go through
each of the four drums one at a time and
let's have a peek or listen at that will
solo
those four channels
oops hang on I got the floor tom boosted
up quite a bit here back to earth must
go through it again
now i have the snares turned off on the
snare drum and you're gonna hear when I
turn those that snare channel on you're
going to hear that those snares on the
the bottom buzz when I hit the rack Tom
and that is a big problem for me because
I hate snare buzz so
awful awful
let's isolate the bottom snare here so
we'll go from snare to rack Tom back and
forth and you'll hear that that those
stairs buzzing away whenever I hit the
rack top
lets just hear the bottom like Oh
terrible how do you correct this
well there's many different ways to do
it it starts by making sure that your
rack Tom and your snare drum are not
tuned
yeah it closely that can take a bit of
time and that's all done before you
start recording
let's say that the the drummer that
you're working with or you just never
did that and the recording you have is
filled with that snare buzz the best way
to get around this i found is to add a
gate or an expander to the Tom's
individually now you have to use gates
and expanders sparingly you have to be
tried to use them sparingly because like
I explained before they pick up the
symbols a lot and when the gate is
opening and closing it really screws up
your mix and i'll show you for those of
you who don't know what a gate or an
expander is i'll just show you the
difference of how it sounds with it and
without it so you give you an idea what
it does an expander is the opposite of a
compressor a compressor reduces dynamic
range expander expands dynamic range and
why is this important
well if you want to get rid of noise the
best way to get rid of noise is to make
sure that noise is lower and that the
the hive the peaks are higher and that's
what expanders do so let's have a gate
on this channel which I've already set
up and let's hear it
added back and forth like before so
we'll isolate the snare with the bottom
Mike and the rack Tom together and let's
hear it
now let's add the gate on the rack tom
whoops whoops hang on this bottom mike
is not supposed to be that loud supposed
to be about minus about 10 decibels
lower than the rest of the mix
ok let's listen to adjust the rack Tom
because it's not giving me the result i
was expecting here and this is in real
time I don't want to do any edits that's
really loud gets trapped like this you
know what I'm doing this all wrong guys
that's because i'm adding a gate on to
the Tom and not on to the snare bottom
do so i made a mistake let's go back
we'll add a gate to the snare bottom is
what i'm going to do
dum-dum-dum the little number okay so
turn this off turn on the gate for the
snare bottom and now you'll hear the
difference okay alright stop screwing up
lens
there we go
here comes better
ok we're taking a lot of time here so
i'm going to jump ahead a bit guys want
to get into some of the mixing of this
whole setup and i'm going to turn on so
you have you been introduced to the gate
concept and what it does it's sort of
reduces the background sound on tracks
when they're not being played i can't
really give you a full detailed
description of how that works because
that would really take a while and we've
already sort of bit through a bit of
time here and so I'm going to apply a
gate to the floor tom and lets just hear
how that sounds together all everything
together
ok so there's a bit of a balance there
and the next thing I would normally do
is I would start mixing doing a little
bit of padding of the floor tom so I
have the floor tom off to the right at
50 and sorry no that's not correct floor
tom is a 33-percent to the right rack
tom is 50% to the left and that gives
you a tiny bit of stereo spread on the
tom-toms you're going left right now
now I haven't actually done any mixing
all I've done is a just corrected the
sound of the tracks you can hear that
there's already a pretty decent balance
here the overheads are really important
to me in a mix because I do a lot of
symbol work and I want to hear those
symbols so let's jump ahead to some
symbols and hear how those overhead the
overheads are translating the sound gets
bring this up so we can hear it
this is where I don't like using
headphones now you can hear that if
you're listening on headphones are on
the stereos set of speakers you can hear
that the left the the the hi-hat is
sitting left in the mix quite obvious
now let's go to the ride cymbal actually
no hang on this is perfect
I'm go back and forth between the effect
symbols and you hear the moving right
and left
that's on the right now let's have a
left
ok you get the idea now let's want to
have the drumbeat ok that's it now we'll
start doing a little bit of mixing with
the basic drum beat and a little bit of
stereo on the drums and we'll just use
this pattern to play this for a while
you guys can hear it you're ringing on
the drums now where is that getting
picked up not they're probably on the
overheads
here this is what I was talking about
you hear that ring because right now i
have the the overheads boosted by 12
decibels over the rest of the mix let's
bring that back down there about nine
decibels above ok and the snare bottoms
there don't forget that the snare bottom
is flipped out of phase the overheads
are also flipped out of phase just to
sort of timeline i could go on about
time lining and getting everything in
phase with the snare drum
there are videos on how to do that on
youtube I suggest you go check that out
because that's beyond the scope of this
demonstration and we haven't even gotten
into the buses yet I can't believe how
long this is taking ok so i have let's
just jump into that right now i have the
snare and the kick drum routed onto bus
eh I have the Tom's routed onto Busby i
have the overheads routed onto bus see
and then I sub mixed all of the drums
the snare kick rack and floor tom onto
the d-bus and that's where I add a
little bit of reverb and I don't add it
to the overheads because it really gets
mushy when you do that and I'll show you
how that works we're going to add a bit
of reverb to this whole mix right now so
I've got those going and the reverb is
office just turn on a little much
and the kick drum is not loud enough so
let's get some more kick their snare
drum me to come up a bit now finding now
I'm finding the snare drum kick drum has
too much attack and I want to roll that
down a bit
there's no compression on it right now
let's try that again the leak you on the
kick drum go no eq peeking out here we
gotta roll back the volumes again
okay release down a bit that down a bit
it again turn up the master game i try
to keep things from clipping a bit here
and I need to hear sometimes here so
let's find a beat that have some toms in
it
now right away
first thing I notice again I'm using
headphones so this is kind of hard for
me to hear all the frequencies that are
coming and going from this mix is that
the overhead some pretty dull so there's
not a lot of high-end they're not crispy
it's not flashy so let's add a little
bit of sparkle and again it's addition
by subtraction i'll show you how we do
that here so we'll use this section a
lot of symbols here so i'll start
shaping the sound of the overheads a bit
using the equalizer flatten that out
turn it on right there right there
the online crash on that 20-inch right
here
that sound to me is an offending
frequency that and that's a distant
that's because the distance of this the
microphone to the symbol is creating
that boosted frequency so let's find it
and sort of reduce it a little bit
there is a hundred Hertz
see that's ugly
see that see this is without the
equalization right i stopped a lot of
noise sorry
right here is just the overheads right
now hear the difference right turn the
EQ on and off thats that's off right now
that's a lot of low mids that's a little
bit more silly but it's a little too
much will that boost back it off so now
a lot of people like to use the low and
mid range from the overheads and a doll
to the mix i've always found that makes
your mix kind of money sounding so again
I like to try and pull some of those
lows often use an aggressive
low-frequency roll off on the overheads
the flat-faces flipped out and then I do
ass less three decimal boost on those
top frequencies to just bring back a
little bit of the sparkle every overhead
microphone is different so you have to
pick and choose your battles essentially
it all starts with microphone placement
and finding the right combination of
where it is the room acoustics i will
play a big part in how far you going to
put your mic so we're how are going to
put the mics from the symbols and once
you've got a nice clean track to work
with
don't be afraid to sort of equalize that
track you know be aggressive sometimes
you have to be aggressive this isn't the
most ideal setup so sometimes you have
to be a little aggressive now let's hear
the whole mix and turn that overhead eq
on off and you'll hear how much how it's
shifting
that's with it on and off here that
simple kind of come down a little bit ok
that's to give you a basic idea of some
of the things I like to do
let's go back to just the standard beat
here and listen let's get off so now
we're out of the gates a little bit i
find the river was a little much
I'm going to roll that back a little bit
i usually like to have my rear sitting
at about 90 minus 18 decibels underneath
the mix and let's find no in the earlier
on in the video I sort of pointed to a
section of the demo where I said it's
good for checking model Kemp
compatibility and this is for your
overheads and how they're placed in the
mix and let's find that it's videos
around here i think somewhere now sony
vegas i have the like most editors you
have the ability to go mano by pressing
this little button right here so you see
that's a pair of speakers you press it
once it turns into a mono mix it sums
all of your audio together into a mono
feed and I'm gonna go back and forth
between stereo and mono and you're gonna
hear the difference and particular
particular listen to the symbols because
when your symbol overhead mics are out
of phase you're going to it doesn't
matter how you position them if you're
going to get some cancellation but there
are methods for reducing that and let's
hear how this particular setup sounds so
here we go this is within stereo
then tomorrow let's hear that that
section again right there go back and
forth so it sounds okay i'm not hearing
any major disappearance of the of the
sound of the symbols so you can
fine-tune that as you go but anyway
we're going a little bit beyond so
that's a basic introduction to some of
the tricks and tips that I use for a
basic mixdown we looked at parametric
equalizing and how to ring out the sound
of a drum we talked about expansion and
how to reduce background noise on
microphone channels there are videos how
to do that with a little bit more
precision than I've shown you today and
i would suggest checking those out
because that's how i've learned some of
these tricks myself in the recording
environment I knew how to do this lot
life stages but on the recording
environments a little bit different and
I needed a little bit of help with that
because there's a lot of new tools out
there we talked a little bit about the
the effective snare buzz and how to try
and things you can do to eliminate that
or at least try to minimize it talk
about shaping the sound of the channels
using your equalizer it as you'll notice
i didn't use compression on anything
today
now the compression is something that's
its objective and I i have a tendency to
use a lot less than most people because
i like my drum mix is to have a large
dynamic range
I don't want the sound of the
compression to take over the sound of
the drums drums are dynamic instrument
they're supposed to have large
differences between the quiet and loud
passages typically i shoot for about a
30 decibel dynamic range on my drum mix
that's not always entire practical
because most modern music is sort of
mastered up to about a minus ten rms
level and there's
I can go into that but that's again
that's a bit more complex for this
particular discussion except to say that
it's good to have a good dynamic drum
mix and if you just use some basic
principles and set up your drums
properly use half-decent microphones use
a good sound card and learn some of the
ideas that I've shown you today a little
bit you know take you take it and learn
them a little bit further you'll be able
to to sort of get a good drum mix
out-of-the-box now typically this type
of mixdown session you're looking here
with with these drum tracks i would
spend probably about 10 hours like 10
solid hours going over a drum mix going
over every detail of every frequency all
of the different settings that i can go
with the compression and equalization
the reverb how it all interacts with the
other instrumentation and mix that's
obviously going to take way longer than
i have today and I've already gone on
for probably a half an hour
yeah 33 minutes for crying out loud is a
long video so there you go guys
a basic preliminary on how I record
drums for all of the videos that I've
been doing on youtube if this is your
first time doing multitrack drum
recording there's tons of great videos
on YouTube that will show you in detail
all the little things that i was talking
about today I sort of had the glaze over
a lot of stuff so i hope you guys can
appreciate that to keep things sort of
time friendly had to cut out a lot of
stuff if you'd like to help this project
out you could do a couple of things
number one is if you like any of the
symbols I've ever worked on a simple
project please visit the web store if
you'd like to share these videos with
your friends on social media that would
be of great help as well and you can
leave your comments and questions let me
know what it is that you liked or what
it is you wanted to know about that
maybe I didn't discuss and of course on
Friday nights I do live broadcast and I
would love it if you guys would join in
that's a lot of fun in real-time
question-and-answer session and I enjoy
doing that very much as well the next
episode of microphone got live is going
to be about guitars gonna be doing
electric guitars bass guitar slide
guitars acoustic guitars amplification
miking affects all of those subjects
will be covered the next episode so
please if you want to teach your guitars
to think or to tell them to watch my
next video and I'm sure he'll be
disappointed
I'm let's capital from microphone dot
live thanks for watching guys
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