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Post by Ward on Oct 6, 2022 11:50:29 GMT -6
Similar stuff for me. Have done a lot of what people are talking about - K I/O to an Aux etc. but I usually will send all to a Drumbus. Comp Hipassed controlling snare and OH etc. then into a 1073 to drive it a bit. Might add a little 10khz and 3.2. Then into a limiter. Occasional will route that to a parallel bus with a 175/176 or Chandler Zener plug. Mix up to taste. I also usually use trigger on the Kick in and mix in to taste. Usually leave Kick out muted, but it’s there if needed. Will mix in a trigger snare to taste and then a verb on that. Only use eq and comp to snare to fix things. Like if the hits are triggering the replacement snare weirdly. Been known to throw in a little Waves CLA Epic room on the entire thing. Brings back an interesting side-discussion... Where do you like to high pass? for me 29-30 on kick 100 on snare 80 on toms 160 on hats and overheads. Pre-comp. |
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Post by jaba on Oct 6, 2022 12:51:04 GMT -6
Parallel compression on drums is just another great option that gives another type of sound.
I love having an 1176 or Gain Brain down the middle to feed a bit of kick and snare to, maybe a bit of bass, or centered guitar or whatever.
It does something unique. Like a pulsing glue stick right down the middle, EQ'd to taste. It's almost always tucked well into the mix, but mute that puppy and something is definitely lost.
Then again, often it's not used at all.
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Post by smashlord on Oct 6, 2022 14:47:59 GMT -6
Typically I spend a lot of time listening to the drums themselves and getting balances sorted... faders & EQ so the drums sound like a kit from the start. Do all the parts of the kit make sense together? Are the attack transients matching? General EQ... is the snare brighter then the rest of the kit? Is the kick reaching deep enough? Stuff like that. I've always felt EQ is much more important for getting a big drum sound in the mix than compression. If the performance is good, mic technique was good in terms of the balance of cymbals vs shells in that particular room, the drums were tuned correctly with appropriate heads and muffled correctly, a lot of times I use no compression on the drums because the 2 mix compressor is providing enough. It then is just about carving out enough midrange to open up a spot for the other instruments. |
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Post by svart on Oct 6, 2022 16:17:03 GMT -6
Similar stuff for me. Have done a lot of what people are talking about - K I/O to an Aux etc. but I usually will send all to a Drumbus. Comp Hipassed controlling snare and OH etc. then into a 1073 to drive it a bit. Might add a little 10khz and 3.2. Then into a limiter. Occasional will route that to a parallel bus with a 175/176 or Chandler Zener plug. Mix up to taste. I also usually use trigger on the Kick in and mix in to taste. Usually leave Kick out muted, but it’s there if needed. Will mix in a trigger snare to taste and then a verb on that. Only use eq and comp to snare to fix things. Like if the hits are triggering the replacement snare weirdly. Been known to throw in a little Waves CLA Epic room on the entire thing. Brings back an interesting side-discussion... Where do you like to high pass? for me 29-30 on kick 100 on snare 80 on toms 160 on hats and overheads. Pre-comp. I typically use the listen/audition effect on a hpf and listen for when it just starts to pass some of the audio then I go a slight bit higher. Same situation but opposite direction for the lpf. |
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Post by theshea on Oct 7, 2022 0:21:14 GMT -6
well lets be honest. yeah parallel has become a sound/effect. like 80‘s snare reverb but one that bands in certain styles demand for todays music. if you don‘t deliver it they will tell you „its sounds lax, weak“ and its not always a weak drummer. its the norm, the standard sound in certain musicstyles, the expectation of bands. sometimes the drummers are great with good balance bit they want even more punch and energy and parallel compressions delivers just that.
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