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 revert to prevent it from getting to muddied up? You mean putting ah, high pass on the river itself? Yeah, absolutely. Yeah, that definitely cut thing. The subs out of there. Seems like a good idea. A lot of the time is definitely case by case, but it's pretty common. Yeah, and 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, uh, when I got it into pro tools. Yeah. Yes, I was just I was just eyeballing it. All right, all right, go ahead. Jimmy o 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 a song? Yes. And there's ah, there's pre delay calculators online for people that aren't math savvy. Are you able to share that information with probably not gonna contr...
ol, but, uh, I mean, just type it into any search engine, pre delayed 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 sixteenth those eight now it's quarter notes that you want your pre delay and and some of them will even give you a description of what each type of river of sounds like pre delay was 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 tio stick to a bpm. All right? Yeah. 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 um 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 a steel drum comes from this near bottom uh basically let's see cover your ears this is a snare without the snares on e mean this's there at the snares on so and that's all because I engaged these so bottom snare mike is pretty damn important, but you also can't have it too loud. So it's ah subtracted v q. 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 fills 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 that mike is pointing the exact opposite direction as the top and number three just listen to how much snare mike bottom stand like, there is an other 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 that the snare bottom is fluctuating via automation, so get to work. Another question from paul geun deck hey 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 I I use metal machine more am you've used, uh, drum kit from hell quite a bit right yes and I've upgraded to mail machine what made you you said upgrade and what do you know I just metal machines knew it I like it a lot better I just use it primarily sense getting it yeah same here I think mental issues where it's at same kind of ideas drum kit from biologists that newer better yeah and your version of it I guess I just prefer it it's it's the metal centric drunk 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 lining and those were good do you 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 but can't get another sample um let's say let's go toe a more realistic scenario like what have you recording a snare that rings too loudly and uh and there's nothing you can do about it's the on ly snare you've got and it is ringing like a trash can use moon gel but I can't imagine a sample that's got too much ring on it just use another one like if 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 subtracted the queue to get rid of it. Uh, but honestly I would turn it the hell down and use another sample was the main one I'm of the is my philosophy towards audio and audio creation that if something's not right and change it at the source not don't dick with it for too long just some things to ring any or not ringing enough and change the sample till you get one that is the right does have the right amount of ring same as when we were recording drums if snares to ringing uh we're not going to try to seek you that outer kate over in a moon gel it we're going to try to change the tuning hurry and change the head ultimately we're inches that drum so it's not going to make it teo teo tape sounding wrong uh, one more question from cool lady kool aid olio uh 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 they don't look at me and I'm not the one program and drug china figure that out, uh, well, it depends what you're clipping. Um are you clipping the plug ins? Are you clipping the individual channels or you're clipping the master out? Uh there's no telling I don't know, but you need to basically figure out what you're clipping and solve it from there. So if you're clipping, the plug ins turned down the input until they're not clipping anymore. If you're clipping the master output, turn it down till you're not clipping in anymore, but I suspect that the velocities air too high just a hunch is usually what it is I don't know okay, well, shifting gears a little bit betrayer wanted to know, um, since you've helped produce bands such as white chapel devil driver, et cetera recently, my question is, do those bands use samples on all their drums? Or do they actually use the rial sound of the drum set miked up quick correction just to be totally transparent? I didn't produce devil driver mark lewis did 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 drama 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 got to do to make things punch through. Uh, and lots of times that means adding a sample. So yes, they're samples on everything. All right? Yeah, well, we have about ten or so minutes. You have any closing statements or thoughts before we wrap this party up, work hard. Ah, I I feel like you guys should check this out. Thes things that I have up if you want to contact me further uh wantto send a thank you to everybody that tuned in and you guys for showing up and helping out and thin for saving me on dh everybody a creative life for being great. Uh, if anybody wants to continue this conversation, my tumbler is the place and I am happy to continue the conversation because I realize 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 decent it too so keep the questions coming and hit me up on line it's not a problem and really enclosing 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 and 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 bull that has taken over music. So do the work, please so 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 method of getting better. But I guarantee you they'll get much better and also guarantee you that if 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 as sox horrible.