Advanced Drum Production

Lesson 47 of 52

Bonus: EZDrummer - Compression and Reverb

 

Advanced Drum Production

Lesson 47 of 52

Bonus: EZDrummer - Compression and Reverb

 

Lesson Info

Bonus: EZDrummer - Compression and Reverb

Talk about compression real quick now lots of times when youse compression on drums or on anything and music that needs to sound like is busting through the speakers it's an improper use of compression which is fine I'm just telling you from a textbook perspective compressors air basically there tio even things out like say you have a bass guitar performance that's all over the place dynamically and you just needed to be like one solid level so the compressors for or have you got a singer that singing a level and then something just gets too loud you know? So the compressor limiters for um that's the basic application of a compressor however there's a million different things you could do with him and again that's something we could go on for weeks about but I think the main thing you do with drums is make them sound like they're exploding I mean that's basically what everyone I know does when they're compressing drums that they do something to make them punch here fatter, more explosi...

ve just something that will hit you harder in some way shape or form but you do a lot of mixing is that ah I mean, what would you say about compression on drums? I would agree with everything you just said uh all right then cool so I'm gonna give you guys a very quick peril compression example going to say something that question but it might be too deep no basket please do you ever uh when you're compressing what order in the plug in jane would you compress to seek you because sometimes you can compress to mix and sometimes you can compress toe for effect almost make things punch more but sometimes you need to eat too again yeah no I'm talking about okay well the that's just kind of based on the situation it's based on the situation but the quick answers this say you want your snare drum to cut through like just and you're going to use compression to get there but there's some problems with the snare just like weird ring me crap or whatever you would use a q first to get rid of all that because one use the compression you're going to bring up everything so yes so you get rid of all the garbage then you compress it like crazy but then you need to probably acute again the subtracted v q compression and then whatever else you need to do is cue wise that's typically you know that's that would be thought number one every case is different so that said I had a really, really quick parallel compression just to aah hammer home the idea of busing because, uh I know that busing confuses a lot of people so I'm not going I'm not going to compresses an insert come do apparel compression this is basically I just want to snare sound a little more explosive so I'm making another ox track I call it snare comp and right here you have your sins and again you need to tell them where to go so see a bus why is called busing so thirty three hasn't been used so what the hell we'll use thirty three I just turned it up so that goes to thirty three and now here on my snare comp track I need to tell it to be accepting signal from thirty three so good a bus thirty three should work we'll see though yeah it's working I just don't have it turned on you can see snare sneer comp check basically we are sending that snare signal to the snare comp via bus thirty three so this is an output thirty three input thirty three now I gotta just level the crap out of it just for the sake of speed I'm going to just load rock my snare on ah, this plug in plugin has a little bit of ah weird phase things so I'm gonna pick another one could you guys hear that? Cool? Well you're looking for the other compressor jerrel has a question which he says is stupid but I don't think it is hey says okay I thought the samples and easy drummer already compressed why compress again I'm just showing you how to do it well but you know you may want to compress them well or some applications basically if they're not cutting through enough you know if you want there's a ton of different things you can do with compression uh leveling things out is just the traditional use but you can make things sound completely different you could make them sound like they're exploding you could make them sound quiet you khun I don't make a sound distorted you could make them super fat thing it's um super punchy like there's so many things you could do with them and ah it's a useful thing you know, maybe you just don't think there's enough compression on it maybe you wanna have a parallel compression chain which is what I'm doing now this is thie this is basically uninterested mixing if you want to take it a little further but easy germer being a writing tool it sounds great right out the gate so you may not need this stuff but you know if you do here's how to do it eyes making a pretty extreme that's all let's see your uh when they do parallel compression with something before pro tools nine before they introduced a lake compensation in love with that and well what what would you recommend you did because it's great of great I just had to go through that dude or like what if you use a dog that doesn't have, like delay compensation get one that does hey, I just spent five days of my life dealing with this crap it is what it is like upgrade if you our own pro tools eight upgrade because they didn't have this stuff figured out yet and it's terrible approaches a it was basically designed to interface with the hardware studio my old school studio where it was like a hybrid situation so you be bussing out to like serious analog here they weren't thinking that mixes would become completely in the box or almost completely in the box and so I guess they just didn't have it together yet, but they got it together in nine so so it's true that more like a tape machine permanent? Absolutely yeah, so you're in eight do what you can get off of eight I realize that they don't make it easy for people so best of luck to you a feel your pain I really do now things are going to get war explosive basically it's just adding a little bit more to it is all that's all I'm doing with it nothing crazy even though the meter is kind of pegged isjust apparel thing so as you can hear it's subtle but the snare punches through a little bit more basically I'm gonna play it with the compression on then off and what I want you guys to pay attention to is just how much the snares punching that's all yeah so upon share just a little if you can't hear that step with your rig that sort of saying that's what I'm saying like it's subtle in that it's subtle in that I didn't destroy it but its not so subtle that you won't be able to hear it you should be able to hear it should feel punch here um and you know it's just you know from using compressors that if you go too far everything khun become a distorted mess and all you hear the bottom snares and it's just racket so talk about reverb real quick basically I'm sure you guys have heard that this is all about putting things in a room now once again like somebody forget his name asked why would you want to compress something it's already compressed well why would you want to put something in a room if it was already recorded in a fantastic drum room well maybe it's pointless maybe it's not but there's some artistic reasons to use reverb that uh you might encounter and it's totally up to you either way I'm gonna show you how to do it um it could be that the room isn't long enough of a reverb uh and you need to create your own basically you're putting the drums in a different sonic space so like say they were recorded in a room something like this which has some wood, some brick whatever pretty tall ceilings somewhat long decay not that long whatever you needed to sound like you're in a cave that is you're not going to get that from the room sounds that are included we need two sound like you're in an arena or something I'm just I'm picking extreme examples to prove my point but what if the vibe of the song dictates that the drums need to be in a completely different sonic spaces with the reeve herbs for and with that said you want to make yet another bus I'm gonna send the river to it so this time it's from the stereo and an ox and there it is called bird now remember I have tio sensational to it so let's look for some channels on the buses that haven't been used thirty five and thirty six or open so thirty five thirty six it is now I need to tell the snare to go thirty five and thirty six so here on the buses find thirty five and thirty six and there you go I'm not going to get into pre imposed vader right now that's advanced stuff so right now I am mute this but you'll see that the snare should be going to the reverb track on it isthe so I was going to pull up a river because if I don't and then just a mute that all that's gonna happen is is going to sound like a loud snare so how about this e you can hear just putting the river plugging on it already just adds something to it now protest don't go too far with this stuff just because you can hear it and you think it's cool doesn't mean it is cool like try to match reverb levels to where it's at on records you actually listen to ah you can ruin absolutely ruin mixes with too much reverb um so just uh word to the wise I'm gonna play everything together now you know what I'm gonna do I'm also going to send the toms to the river burial click so all I have to do for that is copy over these sends to the tom tracks see bus thirty five and thirty six you can see these air the tom tracks they're now going to bust thirty five thirty six and uh and uh wasthe in here dig in here they're going to the river and now with the snare that's what happens you have it too loud it just sounds stupid you're gonna have it basically you wanna have the reverb at a level where it just makes things sound more alive but it doesn't overtake everything and sound like a stupid demo and ah that's going to take a lot of listening so again kind of like the example of listening to your favorite drum parts and transcribing them, you should probably do the same with re verbs, because, like I said, you can really ruin a mix in a heartbeat with that stuff. So all right, so that's that

Class Description

Recording drums that sound both hyper-polished and authentic has always been something of a black art — one that isn't taught at any school, one that you could only learn from one of the few elite engineers scattered across the planet. Until now.

In this three-day class, free to watch while live, you'll learn the real-world production techniques that producer Eyal Levi uses every day at Audiohammer Studios — on albums for bands like The Black Dahlia Murder, August Burns Red, Chelsea Grin, and Whitechapel. Eyal will show how to select the right drums for the sound you want, tune and set them up, and mic the kit. Oh, and did we mention that the legendary Sean Reinert (Cynic, Death) is the in-studio drummer?!

You'll also learn how to use virtual drums, including when to use Toontrack's Superior Drummer and other software instead of a human drummer. Finally, Eyal will reveal the closely-kept secrets for polishing tracks —everything from editing and sample replacement to layering samples. At the end of this class, you'll know the trade secrets of high-end drum production and be armed with a toolkit for creating world-class drum tracks.

Lessons

  1. Class Introduction
  2. The Tone Pie and Process Overview
  3. Getting the Lay of the Land and Q&A
  4. Assemble Your Gear
  5. Drum Tuning Part 1
  6. Drum Tuning Part 2
  7. Fine Tuning Tones Part 1
  8. Fine Tuning Tones Part 2
  9. General Guidelines of Tracking Drums
  10. Tracking with Sean Reinert
  11. Pop Quiz
  12. Basics of Superior Drummer
  13. EZDrummer vs Superior Drummer
  14. Constructing a Metal Drum Kit Part 1
  15. Constructing a Metal Drum Kit Part 2
  16. Constructing a Rock Drum Kit
  17. Grooves and Programming
  18. General Q&A
  19. Prepping Virtual Drums for the Mix
  20. Superior Review with Q&A
  21. Intro to Mixing and Drum Clean Up
  22. Interview with John Douglass
  23. Intro to Drum Editing
  24. Manual Editing Approach
  25. Editing with Beat Detective
  26. Editing with Elastic Audio
  27. Sample Layering
  28. Replacements
  29. Gain Staging and Bussing
  30. Mixing Essentials
  31. Compression and Parallel Compression
  32. Reverb and Automation
  33. Mixing Tips and Tricks
  1. Bonus: EZDrummer - Introduction
  2. Bonus: EZDrummer - Intro to EZDrummer
  3. Bonus: EZDrummer - EZDrummer Foundations
  4. Bonus: EZDrummer - How a Drummer Plays
  5. Bonus: EZDrummer - Part Writing Part 1
  6. Bonus: EZDrummer - Part Writing Part 2
  7. Bonus: EZDrummer - Part Writing Q&A
  8. Bonus: EZDrummer - Intro to Grooves
  9. Bonus: EZDrummer - Writing from Scratch
  10. Bonus: EZDrummer - Intro to Fills
  11. Bonus: EZDrummer - Writing Fills
  12. Bonus: EZDrummer - Mixing in Your DAW
  13. Bonus: EZDrummer - Bussing and EQ
  14. Bonus: EZDrummer - Compression and Reverb
  15. Bonus: EZDrummer - Conclusion with Q&A
  16. Bonus Video: Editing
  17. Bonus Video: Toms and Cymbals
  18. Bonus Video: Snare Midi
  19. Bonus Video: Kick Midi

Reviews

El Bulbo Studio
 

This class will give you confidence when tracking drums. Eyal's interaction with the drummer will help you communicate better with the artist to get the best performance and tone. The added bonus on drum replacement is very valuable and will improve your mixes.

a Creativelive Student
 

My drum sound has improved by 150% and counting. I'm grateful that Eyal would share this information with us. Not every technique is for every situation, but they all work. It's up to you to have the vision and to use the right tools for the job. Thank you guys!!

Michael Nolasco
 

To the guy that said buyer beware: this is an advanced production class, it's not meant for beginners who are learning to mic up a kit. I'm a beginner, but i'm using superior drummer, so this class was perfect for me to learn how to process drums post recording. I refer to it constantly. The editing videos are also prime information.