Advanced Drum Production

Lesson 48 of 52

Bonus: EZDrummer - Conclusion with Q&A

 

Advanced Drum Production

Lesson 48 of 52

Bonus: EZDrummer - Conclusion with Q&A

 

Lesson Info

Bonus: EZDrummer - Conclusion with Q&A

Let's, uh, get some questions going. Do you find yourself, uh, rolling off a lot of the lows when you have reverb and things like tom going to reverb to prevent it from getting too muddied up? You mean putting ah, high pass on the river of itself? Yeah, absolutely. Yeah. Definitely cut thing. The subs out of there seems like a good idea. A lot of the time. It's definitely case by case, but it's pretty common. You know, I don't know if you mentioned or not, but when you were panning the different tracks where you just panning them? Two parallel where the drums were when I got into pro tools. Yeah, yes, it was just I was just eyeballing it. All right, all right. Go ahead, jimmy. This one more about river charm? Do you find that you'll try to adjust the pre delay to kind of go with the groove of, like, the tempo of the song? Yes, and there's there's pre delay calculators online for people that aren't math savvy. Are you able to share that information with us? Probably not gonna control. B...

ut I mean, just type it into any search engine pre delay calculator, and some will come in and just go to one and it will ask you for the tempo of the song and then the subdivision like sixteen knows eight notes quarter notes that you want your pre delay and and some of them will even give you a description of what each type of reverb sounds like pretty late waas so yeah, I just I mean, do not everyone is good at math. So, uh it's a very, very useful tool that's awesome, but yeah, I would do that, especially when you have some busy music going on. I guess if it's ah slower music and sparse is not as important but when there's a lot going on it's pretty key too. Teo stick to a b p m all right, a question from bregman I noticed that there are mixers for the snare top and snare bottom personally, how do you usually have them set relative to each other? I can't seem to find a compromise that sounds best for a hard rock metal sound. Yeah that's a tough one and we definitely will spend a long time getting the balance right? But ah lot of the detail in the inn, I guess the articulation of the snare comes from the bottom. What makes it sound like a snare and not just a ah steel drum comes from the snare bottom uh basically see cover your ears this is a snare without the snares on e I mean, this is there at the snares on so and that's all because I engaged these so that bottom snare mike is pretty damn important but you also can't have it too loud. So it's ah subtracted cq is your friend with that? It really, really is. And this is a case we're listening to some records uh for that specifically during phil's will help guide you because it's a very, very tough topic, but number one a lot of subtracted v q number two did you check your phase? Because typically you have to invert your phase on that is the mike is pointing the exact opposite direction as the top and number three just listen to how much snare mike bottom stair mike there is another mixes and it might not be a static thing. It might have to come up and down throughout the mix that happens routinely on our mixes. The snare bottom is fluctuating via automation, so get to work. Another question from paul geun deck uh, he would like to know what you think of the drum kit from hell pack that's the one I've used the least, but it rules from what I can tell, but I use metal machine more am you've used, uh, drum kit from how quite a bit right yes and I've upgraded to metal machine what made you you said upgraded what do you know? I just metal machines newer I like it a lot better if I just use it primarily sense getting it yeah same here I think metal machines where it's that same kind of ideas drum kit from hell just the newer better you and your version of it I guess I just prefer it it's it's the metal centric drum drunk pack that they sell and it's just I just like it better sure uh question from mikey prs how do you deal with overly ringing sampled snare sounds here's another one I really like your one liners thanks like you're one line and those were good the ever use gates to try and just like like let's say don't have another one would you just like but why wouldn't you have another one let's just say in this person's let's just say that this person has a recording set up can't get another sample um listen say let's goto more realistic scenario like what you're recording a snare that rings too loudly and uh on there's nothing you can do about it it's the only scenario you've got and it is ringing like a trash can and use moon gel but I can't imagine a sample that's got too much ring on it just use another one like it they're in an easy drummer class than and they have easy drummer than they have plenty of samples. Yes, you can use a gate. Yes, you can use attractive e q to get rid of it, but honestly, I would turn it the hell down and use another sample is the main one I am of you. The is my philosophy towards audio and audio creation that if something's not right and change it at the source not in, don't dick with it for too long, so something's to ringing or not ringing enough and change the sample till you get one that is the right does have the right amount of ring samos when we're recording drums, if snares to ringing uh, we're not going to try to eat you that outer kate over on a moon gel it we're going to try to change the tuning aren't changed the head and ultimately we're inches that drum so it's not going to make it tio tio tape sounding wrong uh, one more question from cool lady kool aid olio er I find that easy drummer and spirit drummer too are very loud and peak the channel a lot. Do you reduce the master volume within the plug in or the fader in the dog or doesn't matter? Are all your velocities at one twenty seven or something? Because I never seem to have that problem don't look at me and I'm sorry I'm not the one programming drum china figure that out well it depends what you're clipping are you clipping the plug ins? Are you clipping the individual channels? Are you clipping the master out uh there's no telling I don't know but you need thio basically figure out what you're clipping and solve it from there so if you're clipping the plug ins turn down the input until they're not clipping anymore if you're clipping the master output turn it down till you're not clipping it anymore but I suspect that the velocities are too high just aj is usually what it is I don't know okay well shifting gears a little bit betray er wanted to know since you've helped produced bands such as white chapel devil driver etcetera recently my question is do those bands you samples on all their drums or do they actually use the real sound of the drum set miked up quicker action just to be totally transparent? I didn't produce devil driver mark louis that I just did engineering stuff on that worked really hard on it nonetheless but yes you will not find a metal record nowadays that doesn't have drum samples on it it just doesn't exist. Every single record out there has drum samples on it now not all records are one hundred percent replaced and there's a misconception about what the difference is between sample enhancement and drum replacement germ replacement is when the original drums were completely gone. There's nothing left but a sample may as well not have recorded them at all if it's at that at that level. But sample enhancement or blending is when you just blend in some samples to make something cut through more much in the same way that I did that parallel compression chain, you just do what you've got to do to make things punch through andi lots of times. That means adding sample. So yes, they're samples on everything. All right? Well, we have about ten or so minutes. You have any closing statements or thoughts before we wrap this party, it work hard. Ah, I feel like you guys should check this out. Thes things that I have up if you want a con, take me further. Uh, just wantto send a thank you to everybody that tuned in and you guys for showing up and helping out a fin for saving me on and everybody a creative life for being great. Uh, if anybody wants to continue this conversation, my tumblers, the place and I am happy to continue the conversation. I realized there's probably a million unanswered questions about this and, you know, in six hours you can't go over something that's taken me something like twelve years to get decent at so it's going to probably take you guys about that long to get descended it too so keep the questions coming and hit me up online it's not a problem and really in closing uh all I have to say is that if you don't put in the work don't expect the results I mean you can take this class and spend the money on gear and good luck to you getting poor with that but if you don't do the work nothing good's gonna happen on you could download good sounding stuff that's got some nice presets and all that but that extra little edge that comes from putting in the work is the edge that makes the difference between being professional and just being another contributor to all the noise of amateur bulls that has taken over music so do the work please I really have to say awesome tell us what you really think I think that honestly everybody everybody that's good at what they do says that yeah the most part the same in our photography workshops you know we can watch all the workshops we want have all the gear but if you don't do the work I guarantee you that if someone actually does the stuff that I said here um that at some point in the next few months they're going to be much better and then they might even outgrow what I had to say and find their own way they're getting better, but I guarantee you they'll get much better. And I also guarantee you that they don't do what I said, that they're going to pretty much stay at the same level, uh, indefinitely or that's. How it works for all eternity doomed to mediocrity. Socks are horrible.

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

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.