Digital Drums with EZDrummer

Lesson 14 of 15

Compression and Reverb

 

Digital Drums with EZDrummer

Lesson 14 of 15

Compression and Reverb

 

Lesson Info

Compression and Reverb

Talk about compression real quick now lots of times when use compression on drums or on anything and music that needs to sound like it's 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 they're 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 compressor is for or if you got a singer that singing a level and then something just gets too loud you know that this is a 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 dramas 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, m...

ore explosive just something that will hit you harder in some way shape or form you do a lot of mixing is that ah when what would you say about compression on drums? I would agree with everything you just said oh all right then cool so I'm gonna give you guys a very quick on peril compression example of going to say something that question but might be t know ask it please do you ever uh when you're compressing what order in the plug in chain would you eat compressed e q because sometimes you can compress to mix in sometimes you can compress toe for effect almost make things punch more but sometimes you need to eat you again yeah no I'm talking about ok well the that's just kind of based on the situation but 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 ringing 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 yes in the subtracted v q compression and then whatever else you need to do the q 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 I know the busing confuses a lot of people so I'm not going to I'm not going to compress is 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 bus that's what why is called busing so thirty three hasn't been used so what the hell what is thirty three? I just turned it up so that it 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 I got a bus thirty three should work we'll see though yeah it's working I just don't have it turned on his you can see sneer sneer comp 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'm gonna 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 top logan has a little bit of ah weird phase things are gonna pick another one could you guys hear that cool? Well, you're looking for the other compressor general has a question which he said is stupid but I don't think it is he 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 what 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 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 this undistorted you could make them to the super fat thing it's a super punchy like there's so many things you can do with them and, uh it's a useful thing you know, maybe you just don't think there's enough compression on it maybe you want to 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 drummer 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 I was making a pretty extreme that's all let's say you're in the deep parallel compression with something before pro tools nine before they introduced to lay compensation in love with that and, well, what would you recommend he did because great of good I just had to go through that dude or like what if he used 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 uh it is what it is like upgrade if you are on pro tools eight upgrade because they didn't have this stuff figured out yet and it's terrible pro tools it was basically designed in her face with the hardware studio my old school studio where was like a hybrid situation so you be bussing out too late 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 it was treated more like a tape machine perhaps and absolutely yeah so if you're on a do what you can get off of a I realized that they don't make it easy for people so best of luck to you a feel your pain I really do right now things are going to get more explosive basically it's just adding a little bit more oomph to it is all that's all I'm doing with it nothing crazy even though the meter is kind of pegged its just apparel thing so really matter because 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 snare is punching that's all so upon share yeah, just a little if you can't hear that it's definitely your rig that's what I'm saying that's what I'm saying like it's subtle in that is subtle in that I didn't destroy it but it's 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 racquet so don't 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 I 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 you might encounter and it's totally up to you either way I'm going to 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 there are recorded in a room something like this, which has some would some brick, whatever pretty tall ceilings somewhat long decay not that long. What have you needed to sound like you're in a cave as you're not going to get that from the room sounds that are included already being is a 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 river bs for and with that said you want to make yet another bus, I'm going to send the river to it so this time it's gonna be stereo and an ox there it is and call it bird no remember I have tio send sale 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 to thirty five and thirty six so here on the buses you find thirty five and thirty six and there you go I'm not going to get into pre impose fader 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 gonna pull up a river because if I don't and then just a mute that all that's gonna happen is it's going to sound like loud snare? So how about this? You can hear just putting the river plugging on it already just adds something to it now pro tip don't go too far with this stuff just cause you can hear it and you think it's cool doesn't mean it is cool like try to match river levels to where it's at on records you actually listen to, uh you can ruin absolutely ruin mixes with too much reverb. Um, so just ah word to the wise I'm gonna play everything together now way you know what I'm gonna do? I'm also going to send the toms to the river real quick, so all I have to do for that is copy over these sends taped to the tom tracks see bus thirty five and thirty six you can see these air, the tom traps they're now going to bus thirty five thirty six and what this thing we're going to hear they're going here, they are going to the river and now with the snare that's. What happens to have a too loud, which just sounds stupid? You and I have it. Basically, you want to have the river 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 river bs, because, like I said, you can really ruin a mix in a heart beat with that stuff. All right, so that's that

Class Description

Whether you use EZDrummer as a writing tool for demos or as a replacement for a human drummer, Toontrack’s plug in is your ticket to self-sufficiency. In his CreativeLive workshop, Eyal Levi of Audiohammer Studios will show you how to get the most out of the industry-leading digital solution for creating real-sounding drums.

Eyal, a seasoned producer, engineer, and musician, will teach you everything you need to know to get the most out of EZDrummer. From writing and arranging realistic drum parts to how to mix the output in your DAW, Eyal will show you how to be the sole arbiter of your sound — no drummer required.

This workshop is taught with ProTools — but includes a QuickStart guide so Logic, Cubase, and Ableton users can follow along.

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