Replacement Mixing - Toms and Cymbals

 

Mixing Master Class

 

Lesson Info

Replacement Mixing - Toms and Cymbals

Should we replace the kick drum and the snare. We put them into a group, and we started mixing the kick and snare with some EQ and some dynamic processing and some clipping. And this is kind of our sound so far. (drum music) And we haven't really done much with the snare room yet. And we haven't touched the rest of the drum kit. So I'm just going to kind of quickly speed through the rest of the drum set, and kind of get a pretty good baseline mix going there. And, so that we can jump in to replacing the guitar tones and the bass and all that stuff. So, let's get these toms sounding a little better first. I'm just going to find a quick section, where there's some tom hits, and loop it. So here's some cold part here. I actually like to loop stuff on time, so it doesn't drive me crazy. (industrial music) And I'm going to create a group for my toms. And then select those, just like we did before. Hold alt shift, click master, send it to a new group. Call this Toms. (drum music) Always star...

t out pretty much with a parametric EQ on toms. (drum music) And that, for these toms, normally I would probably go in and individually EQ each tom. Especially because of their in different frequency classes, you have different notes and tones, because they're in different octave layers. Just for the sake of speed, I'm going to do kind of a generic EQ over the whole sound of the tom. (drum music) I hear like, there's a little bit of a dissonance in there. In the low end that I want to clean up, so I'm going to find that real quick. (drum music) There we go. So basically what happens is, sometimes you get toms that are really close in notes, and the notes are close enough to create a dissonance, when they're a certain frequency space apart. So, to clean that up, you can remove or the other, and you get a more clear sound. And you can find that by using a parametric EQ that allows you to do really narrow key widths like this. And then you can just sweep the frequency range until you find that dissonant low end, and remove that out. (drum music) There it is. (drum music) So that clears it up quite a bit. And then I'm going to try and get those toms to, I'm going to level match the toms to my kick snare now. (industrial music) And, one thing you want to be mindful of is there's different. We're going to get into some panning now, so it's, there's different modes of mixing in key bass. I'm going to hit shift S, which takes me to project setup. Now, if you look down here at the bottom, you have this thing called stereo pan log. And, in there, you have these different settings. This one can control, this will control what happens when you pan something all the way to the left or to the right. And in the center of. So when you're at negative six, let's open up a bass track here just to show you. (electro music) Watch this meter here and you can see. (electro music) So when it's in the center, it barely, it doesn't even go over this line very much. When it's on the right, you see how the increase in volume? Okay, so that's, that's the negative six log. If you put it on equal power, you'll notice that it stays the same. (electro music) Now if you put it on, let's say you put it on zero, let's see what happens. (electro music) The zero's actually the one where it stays the same. Equal power is where it tries to make the adjustment, so that it sounds equally as powerful on all three positions. Because, sometimes the perception if it is exactly the same volume in both speakers, and then it's the same volume on the right speaker, it could seem louder when it's in the center, because it's coming out of two speakers. So that's what the zero mode does. So yeah, I like to mix with equal power mode, because it's the adjusted one. Now, I'm going to start panning my toms from the drummer's perspective. (electro music) Not the bass. (drum music) Now if you're working with real drums, you would probably want to reference that to your overhead tracks and your room tracks. So make sure that you're getting a proper balance, and you're not pushing one tom too far to any direction. However, this is a program. The drums were programmed for this song, so. I'm just using whatever I want to use, because I have the ability to make that decision. And then, I need to get my cymbals sent to my new track. Our group track. So create a new group track. Let's select our hats and our overheads, and send that to the new group. And create one more group. Go and send all these groups to that group, and call it drums. So now we have one group that's for all the drums. (industrial music) I like my drums. I like to try and get my drums to blend nicely together. So I'm going to use some compression on the drums. (drum music) Looks actually sounds like the high hat needs to be turned up a little or a lot. Where is it? (drum music) Yeah, and the, the overheads need a little bit of EQ as well. So I'm going to go in and an EQ on there. I'm going to start with. Actually I'm going to use linear phase EQ. (drum music) I'm using a resonant. Where is it? Resonant high shelf. Which allows you to basically as you increase your high frequencies, it starts to cut just before the point of insertion. (drum music) I like it because it sounds a lot smoother. Than normal high shelf. (drum music) And then, I don't know if you noticed this, but the overheads just sound just sound very kind of pointy. And the dynamics are pretty wild. So I'm going to put some compression on there as well. I like to use 76 on overheads. I think it sounds nice. (drum music) Cool. We're getting close. (drum music) Still hear some some mid range frequencies I don't really like. (drum music) Sounds better. And now, let's go to our compressor for our drum kit. Just use. Let's try. Let's try 76. (drum music) Just all very light amounts. Just enough to kind of glue the kit together. (drum music) I'm getting some clip lights, because of the input, so I'm actually gonna do a. We'll go up here to the top of my mixer. There's an input calibration, so you can kind of turn it. Kind of do a negative 18. And then, I can change my threshold here. (drum music) Okay. And then, I always like to get my drum mix down to zero. What I mean by that is, pretty much try to mix it like it's a stem. Get it to the point where it's basically clipped just a little bit, and it's normalized to zero. That's like my starting point. And I'll mix everything else against the drums. So that the drums don't have to change volume. So the drums start out being just basically whatever level I end up with. And then everything goes against that. Relative to that. So, let me just go ahead and put my clip on here. (drum music) Cool, so I like that. That's pretty much our drum mix so far. Kind of want to take baby steps, and once you get the drum mix sounding halfway decent like this, then you just move on. And then, as you mix in other elements into the song, you might find other problem areas in your drum mix. So then you can go back, make a few adjustments, and then carry on like that. You don't have to get your drum mix perfect right off the bat. So, let's move on to guitars, unless we have any questions. NathanDangerPrince wants to know how would you go about replacing the cymbals, or would you have to just keep the original ones? So, replacing the cymbals would be a process of either manually listening to the cymbal track, and keying them in yourself. Or, if the artist or producer provided you with drum midi, which this band did, I would be able to go in and use this data to trigger new cymbals if I wanted to. However you'd have to ask them what the map is. And, it seems like he gave me some information here, which I am assuming I'm supposed to use as a tune track as the two avatar cymbals. So I assume that means if I wanted to figure out what the cymbals are, I'd have to go get this tune track as the two avatars cymbal pack, and then send my midi into it, and then watch how it triggers it. Or you could just contact them and ask them. But a lot of people don't actually know. So, yeah. That's one way you could do it. Okay, we have another question here. Can you explain gated reverbs on toms? I've heard of people using them to make them. Give the impression that they're bigger. Yeah. So gated reverbs on toms. Just to show you what that even sounds like. You could create an effects track. And, let's just do. What do we have here? Rverb is a good one. And I'm going to take my tom track, and send it to that x track. And then, I think there's even a preset for this. Somewhere. Let's do. Drum plate. Let's see what that sounds like. (drum music) Right, so. Where's my tom hits at? (drum music) We would use this thing here, reverb type, gated. (drum music) And then based on the time setting, I think that kinda controls the gates, so. (drum music) And it's kind of similar to that echo effect that we were doing on the vocals the other day, where we used a delay. And it just had like a one snap echo. Same thing with the toms. Just doing it with a reverb. So it takes the tom hit, puts it through the reverb, and then echos that reverb out once. And that's like what you're gated reverb would sound like. So. (drum music) Kind of like, got that little bit of that 80s sound to it, I think, you know? (drum music) And then what you could do is you could go in and since we have this reverb on a separate channel, you can go in and actually EQ it, so. (drum music) We take it, take out some of that upper mid range. You could get, I guess, kind of fatten up the tom sound. (drum music) You could hear how it creates a little bit of space and ambience. (drum music) And then just add that in with everything else. (industrial music) So, yeah. That's how you do it. Great.

Class Description


Joey Sturgis is the producer behind some of the biggest names in metalcore, including Asking Alexandria, Of Mice & Men, and I See Stars. His sound is one of the most sought after sounds of the last decade and in this class he’ll show you the unique mixing techniques that are key to getting it.

This class picks up where Joey’s Studio Pass class left off: you’ve got your session tracked and edited, now how do you turn it into a polished, world-class mix? 

He’ll show you how to get his signature sound, including: 
  • EQ and compression strategies for drums, guitar, bass, vocals, and synths/effects 
  • How to use automation to fix problem areas and bring out the song’s dynamics 
  • Tons of little tips and tricks to take your mix from good to great 
If you want to elevate the quality of your mix, don’t miss Mixing Master Class with Joey Sturgis.

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