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Post by theshea on Oct 30, 2023 9:12:56 GMT -6
been smashing rock drums all weekend long. so much fun. mainly i am using the PA purple 1176 for this (att 1 / rel 7 / GR ~5db) but also a bit of softubes free saturation knob, both blended in so very lightly. automating them and pushing them up on certain sections.
after changing to the M1 mac with sonoma i somehow lost my license of the once free soundtoys little radiator which i used also in parallel and which gave a certain „electricity“ to the snare. tried to use IK comprexxor instead but with meh results.
what are your kick & snare parallel weapons of choice for rock indie alternative songs?
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Post by Ward on Oct 30, 2023 9:53:28 GMT -6
Only trick:
2 top snare mics, 2 kick mics.
Smash one a bit, gentle control the other. Blend according to taste.
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Post by drumsound on Oct 30, 2023 10:21:47 GMT -6
I make a drum parallel when I'm mixing and it has BD, SD and toms usually. Sometimes overheads and rooms get in there, but not that often. I'm pretty into the UAD Chandler zener for drum parallel. It's actually a Softube plugin, so you can get and run it natively if you like. I start with the Ryan Hewett drum smash preset and then tweak it as needed.
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Post by theshea on Oct 30, 2023 11:01:48 GMT -6
I make a drum parallel when I'm mixing and it has BD, SD and toms usually. Sometimes overheads and rooms get in there, but not that often. I'm pretty into the UAD Chandler zener for drum parallel. It's actually a Softube plugin, so you can get and run it natively if you like. I start with the Ryan Hewett drum smash preset and then tweak it as needed. oh yeah, forget the toms. those i compress/crinch up heavily. used to do it with kramer pie, don‘t have that anymore so i use the PA 1176 but with less headroom. meaty. |
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Post by jaba on Oct 30, 2023 11:11:40 GMT -6
What comes to mind:
- trying EQing the send before and/or after the parallelded comp. Crushing compression can really bring up some nasty stuff.
- sometimes a envelope filter can do interesting things if you really want it to snap and pop (a little can go a long way, both with the filter's settings and the level of paralleled compression in the mix).
- sometimes a bit of bass snuck in there can be cool.
- try a bunch of comps and see what suits best. I've used: dbx160, Eventide Omnipressor, Pulsar Smasher (was free, not sure if it still is), TDR MolotGE, Soundtoys Devil-loc deluxe. All give different flavors for ITB parallel compression.
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Post by theshea on Oct 30, 2023 11:39:32 GMT -6
What comes to mind: - trying EQing the send before and/or after the parallelded comp. Crushing compression can really bring up some nasty stuff. - sometimes a envelope filter can do interesting things if you really want it to snap and pop (a little can go a long way, both with the filter's settings and the level of paralleled compression in the mix). - sometimes a bit of bass snuck in there can be cool. - try a bunch of comps and see what suits best. I've used: dbx160, Eventide Omnipressor, Pulsar Smasher (was free, not sure if it still is), TDR MolotGE, Soundtoys Devil-loc deluxe. All give different flavors for ITB parallel compression. yeah, some nasty frequencies get cut but most of the time the prallel channel is very low so no problem with nastiness. bass i sometimes add to the parallel channel but not so much. i try to use it for transient heavy things. the wurst mic gets added a lot to the parallel channel! |
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Post by phdamage on Oct 30, 2023 12:08:50 GMT -6
I shave a little off of the kick in mic on the way in with an Audioscape 76D and same for top snare with an Audioscape 76A.
kick in and kick out ITB get a little EQ and a UAD 1176LN, snare top and bottom ITB get a litle EQ and UAD 1176AE.
these go to my drum bus, but also go to a Kick/snare smash with a Softube Dynamite where i'm crushing them.
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Post by svart on Oct 30, 2023 12:23:53 GMT -6
Send the snare, kick and toms to a 1176 CRUSHING those suckers with 20dB or more GR. I balance each send so that each drum is getting roughly 20dB GR.
I then bring it up to the point where it's just noticeable in the mix, that way the drums are "always there" without being too loud.
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Post by christopher on Oct 30, 2023 12:39:13 GMT -6
I dig the drum sounds you’ve been getting Svart
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Post by christophert on Oct 30, 2023 14:43:23 GMT -6
TDR Molot is an amazing compressor plug-in on drums.
So much snap and energy.
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Post by jaba on Oct 30, 2023 18:06:53 GMT -6
TDR Molot is an amazing compressor plug-in on drums. So much snap and energy. Agreed. This seems to be when setting it to "insane" makes the biggest difference. |
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Post by paulcheeba on Oct 30, 2023 20:21:02 GMT -6
I sub mix my drums with about 4 or 5 parallel stems. Mostly saturation but other fx and compression like Overstayers, Compex and Neve. Then they get blended with a transient sharp kick, snare and toms and then about 3 types of reverb. It all adds up into a huge larger than life but tasteful noise.
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Post by theshea on Oct 31, 2023 1:22:34 GMT -6
TDR Molot is an amazing compressor plug-in on drums. So much snap and energy. i really got to take some time to know molot better! |
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Post by theshea on Oct 31, 2023 1:23:49 GMT -6
I sub mix my drums with about 4 or 5 parallel stems. Mostly saturation but other fx and compression like Overstayers, Compex and Neve. Then they get blended with a transient sharp kick, snare and toms and then about 3 types of reverb. It all adds up into a huge larger than life but tasteful noise. almost a bit like brauerize? |
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Post by christophert on Oct 31, 2023 3:02:14 GMT -6
Goodhertz VULF is another great parallel tool. I'm also loving Dopamine for HF additional life - pre the parallel send
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Post by vvvooojjj on Oct 31, 2023 4:09:11 GMT -6
I tend to use UAD 33609, UAD Distressor and Decapitator.
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Post by bgrotto on Oct 31, 2023 8:17:10 GMT -6
I like sending kick and snare to a shared parallel crush bus. Generally I like a Distressor (or Arousor, in plugin world), but anything with a slow attack/fast release will work. The idea for me is to shape the length of the kick and snare, with each forcing compression of the other to keep them out of each other's way, all while adding a big fat 'clack' at the transient.
Gives a nice control over transient characteristics of the kit, as well as a way to shape the groove a bit.
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Post by lee on Oct 31, 2023 14:57:01 GMT -6
TDR Molot is an amazing compressor plug-in on drums. So much snap and energy. Demoing. Wow, this is good. |
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Post by paulcheeba on Oct 31, 2023 20:23:34 GMT -6
I sub mix my drums with about 4 or 5 parallel stems. Mostly saturation but other fx and compression like Overstayers, Compex and Neve. Then they get blended with a transient sharp kick, snare and toms and then about 3 types of reverb. It all adds up into a huge larger than life but tasteful noise. almost a bit like brauerize? Kind of I guess, but exclusively for drums. The Kick and snare don’t really get compressed. Transient design and Nvelope makes more sense then I can play with ambient mic compression etc. there’s normally a spearhead stereo stem like a Silver Bullet and then lots of subtle support. |
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Post by mcirish on Nov 1, 2023 2:35:42 GMT -6
I make a drum parallel when I'm mixing and it has BD, SD and toms usually. Sometimes overheads and rooms get in there, but not that often. I'm pretty into the UAD Chandler zener for drum parallel. It's actually a Softube plugin, so you can get and run it natively if you like. I start with the Ryan Hewett drum smash preset and then tweak it as needed. Funny, I do the exact same thing. That setting can really make drums punch. I also have a second send that does more of the typical hyper crush thing. Just a little of that and a lot of the zener limiter. On a side note, I hate the sound of compressed cymbals, so I make sure to keep the overheads out of those paths. |
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Post by frans on Nov 1, 2023 10:16:03 GMT -6
Two mics on the snare top - M201 and DPA4099, in phase, used in combination but never 50:50, one is always king, automation/depending on the song. Maybe some Purple action hardware a bit to tickle the M201. There are some auxes on the mix with saturation, broadband distortion with FabFilter Saturn, another with Airwindows stuff like "mojo". Those also with automation. Sometimes similar for kick, depending on the style of music. Half of the time something for the envelope is also there, like perhaps shortening the envelope under 300Hz for more punch or sprinkling some overtones on when there's a lot of nasty guitars on the loud parts, also automated for how much is needed at this point in the song.
Then Airwindows console for summing, which is a bit fiddly to set up but after that makes life a easier.
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Post by drumsound on Nov 1, 2023 11:49:58 GMT -6
I make a drum parallel when I'm mixing and it has BD, SD and toms usually. Sometimes overheads and rooms get in there, but not that often. I'm pretty into the UAD Chandler zener for drum parallel. It's actually a Softube plugin, so you can get and run it natively if you like. I start with the Ryan Hewett drum smash preset and then tweak it as needed. Funny, I do the exact same thing. That setting can really make drums punch. I also have a second send that does more of the typical hyper crush thing. Just a little of that and a lot of the zener limiter. On a side note, I hate the sound of compressed cymbals, so I make sure to keep the overheads out of those paths. When I was on tape and using the console exclusively I often had the overheads and rooms in the drum parallel, but in PT, it just doesn't sound the way I'd like. |
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Post by jaba on Nov 1, 2023 12:34:46 GMT -6
I never really used parallel compression on overheads but recently I've sometimes thrown them into an Omnipressor (plugin) and bringing that in along another comp (often mono) for kick and snare. I usually need to heavily EQ the send to the Omnipressor but I've had good luck with it.
Said that, I'll do this maybe on 10% of mixes. It's not for every song but can do a nice compressed roomy thing while still sounding "close".
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Post by theshea on Nov 1, 2023 13:37:10 GMT -6
i usually don‘t parallel compress oberheads. i just seek some density and for that i tend to reach for klanghelm mijuc model1 with time setting 2.
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Post by lee on Nov 1, 2023 21:55:31 GMT -6
I will say that I like group compression just as much, if not more. I feel sometimes like it's a slight cop-out to stick with parallel and you're missing out on a chance to create a rhythmic push-pull of compression envelopes in the mix. Jack Joseph Puig talks about this a lot. This right here. Also, I'd rather compress the bus, and feed back in uncompressed kick and snare, but rarely anything else. |
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