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Mixing Master Class

Lesson 7 of 13

Basic Drum Mix

 

Mixing Master Class

Lesson 7 of 13

Basic Drum Mix

 

Lesson Info

Basic Drum Mix

we'll start running for the drums and start getting some final sounds for them for some of those. So it's scroll all the way to the top here and again. We'll start in order with our kick sample. Well, so it I'm hearing more than my sample. I switched to a different modem to be in here. Hit the wrong button. I want to be in. So not touch the latter. I'm not gonna mess with that sample too much. Sounds pretty good. So let's get into the rial kick drum sound. Make these a little bit bigger. It's here. That life kick again. I would start tweaking that thing a little bit. Let's go to our FEC's. Um, okay, we'll start off with in old compressor and Compressed is right here. The Reaper compressor that's built in. And we'll start off about 4 to 1 ratio. Well, just our threshold and are attacking release just to get the kicked the sound a little tighter, a little more control dynamically. And then we'll add a little cute to it after the compressor. Three killed and I'm gonna add a little into it...

just to make it sound little beef. Here using a low frequency shoving a que, which I believe is number two right here. Bring them low image down on this a little bit just to make it sound a little law fatter. If I want a little more attack, I'll bring up the upper midrange right over here before and after. That's film pre good. Now it's here. That sounds with the example. We go back to my other mixer, which I believe is F nine so I can see what I'm doing over here. Seems like a nice blend right there. I'm gonna check out that snare sample first. I want to bring it a little toppings on that thing. So it's Ah, according effects. Sorry, Q indoor high frequency que. It feels pretty good there. And let's clear this out. She got a live snare. I could definitely use some love. Start a compressor, and for the one before, it's a bit too loose. It's a bit more contained this way. Let's put in a queue after this. Just a competes more with the sample. What's he have meets each other? Let's start with this one down. It's pretty good there. Let's check out the bottom snare mic. I'm not gonna compress this one, but I had a little like you to bring out the bottom rat a little bit on the stair Solar effects. Goto R E Q. And again when you're a high shelving on this just to bring up that rat a little bit and then its soul, all three of them, and bring this up well balanced, all the snares together that's feeling pretty good. What's Michels? Let's say, had a snare river but this point or decent drum reverb. Take the souls out. Let's say this. Let's go here and make another track. We'll call this John verb. We'll add a reverb to it. My game will use the re verb right here this time studies in a file. Let's bring the dry only down toe wet only up. We're gonna use a reverb generator and we'll send some signal to its starting with. Well, just about this snare hit life snare will drag the routing to it. Open up our adding and so I bring it up. It sounds pretty small and, uh, electronic. We could tweak that by just in the size of it. Right over here. The length the went in the room size, dampening a little bit. No, it was a little bright to me from a filter at the end of it after the reverb and adjust the high low pass to filter out some nasty highs. I feel pretty good right there. So much adjust that how much was sending to it till too much? Robert, if is good, and we just seem to this guy here throughout this down to here just it to about the same level we did with the other one, which is about minus E. And it's to the scene with this guy. The sample snare como together is good. That's here that with the kick that's feeling pretty good. Game will save that. Now we have the times and times. Do not play the whole song. What's here, where they do play? Here we go and I just leaped this little section here, find a different section, doesn't poop. See if it's another spot where he played it separately, trying to see if he hits the tom a little further away from the snare. Here we go. Let's use that spot. And so it's not so annoying. Well, make a loop a little bigger. Then we could work on that a little bit. Let's start with just adding a little reverb to it. Dropping that here, then we que this a little bit not gonna compress it cause I don't want to bring up too much of the ambience on the rest of Tom tracks. Some people like to really clean up the Tom track so they only play when the time is being hit. I don't like to do that. I could sound of the kit. I'm gonna keep it. Tom Tracks on. I may just bring them up when they being hit. If it's not loud enough, but for that reason I'm not gonna compress them. We're just gonna add a little Q. We'll start off by making them a little brighter with a peak que make a little bigger by bringing down the low mids, bring up the lows a bit before and after. Do we need that? So not gonna use that too much. So it's here that in the mix the easiest way to do this for now on is to go back to a mixer, which is if eight Come on there, we go. What a turn on. We'll turn everything off. Except for these. The the junk folder on to take this out of solo makes a little smaller, and everything is on the over heads off and these off. So just hear what we have so far. Just this time, bring the level down a little bit. It's also paying this time a little bit to the left show. Our drummer usually would place there actual time if you notice a muting it afterwards to see how much leakages coming through on that track and if it's a problem that I could lower it, but it seems like it's OK. I think that the overheads on it's not gonna be a big problem, but they re address that in a bit. What's going to our floor time now after we save floor? Tom is right over here. He's bigger again and we'll leave this and we'll nuke you to this. Wouldn't just make a little quicker. By dragging this and dropping it down, we're gonna change the settings. But at least we have the same ACU on their good starting point. I'll bring the frequencies down toe not being boosted. A little bit bigger. We'll add a little reverb to it if I could find my drum verb, which is right there and this one mostly to the right. Not completely, though. And adjust the level. It was pretty good. It's another section of plays in over here. It feels pretty good. Let's bring these down. Do you know, save. And now the over is going to change the sound pretty dramatically. So let's bring those in is gonna affect a lot of things. So of them I know the chorus actually plays symbol. So wanna feature that area? Can we have some reverb opened around into their open up the actual routing here? That's pretty good there. Bring out the symbols a bit. I don't think we need any compression, but we could use a me que and that wasn't what I wanted Open. So we will remove it and go back here to are really cute again. I'm using the stock plug ins just to know. So you know how easy it is to do it with comes with Reaper. But most of all, I'm doing it apply to any third party or any fence built into the D o W you're using. If you're not using reaper, just apply some of the same parameters about worrying about using the same when I'm using E don't want. We don't want to be too bright because they know someone shrill. But you want to be a little brighter than normal because it's mixing with the rest of the drums. So because you want to bring out the symbols in there, you go a little further than you might think. But you don't want to get to the point where it's actually hurting ears, because the overheads, at least for me, I like to have them bring out some excitement in the drums, so it's now blend that with the rest of the kit I've started over down. Let's also check it in the area where the symbols of not being played, which is earlier in the song that's feeling pretty good. Let's take the drum reverb and bring it down to here just so it's out of our way. But we'll keep it with the drums, and it's still in the junk folder as well.

Class Description

Kenny Gioia is a multi-platinum engineer and producer behind pop and rock records from the likes of Bayside, American Authors, Ingrid Michaelson, and Mandy Moore. He is also a trusted educator and founder of kennymania.com.

In this mixing masterclass, Kenny will walk you through his specific mixing techniques getting top-40 friendly mixes entirely inside the box in Reaper. He will cover:

  • EQ, compression and dynamics
  • Reverb, delay and time-based effects
  • Vocal automation and vocal tone
  • Drum, guitar and bass mixing techniques
  • Mix-buss and pre-mastering tricks
If you’ve been looking for a way to get that big studio sound from your bedroom DAW setup, Kenny will show you how to get your mixes sounding like they’re radio-ready.

Reviews

exoslime
 

this is really great mixing course, kenny has a great workflow and i learned quite a lot and it was easy to undestand, and i dont even use reaper, what you learn in this course applys to all daw and tools, which is great

Evan Phillips | Alaska
 

Kenny's Mixing Master Class blew my mind. His workflow and level of organization during mixing is a real eye opener. I'm also a longtime Reaper user so this is an excellent all around resource for me. I feel like I just stepped up my game. Thanks Kenny!

a Creativelive Student
 

Kenny's the real deal. His knowledge and teaching abilities are second to none. This is a no-brainer! Cheers, Kenny!