I was really happy with how the toms came out from the session yesterday and honestly if you record toms that are really in tune with an appropriate microphone you're really not gonna have to do very much corrective work to them. I'll just talk briefly about the stripping of the silence that I did on them, And let you hear kinda how long those sustain on for. (percussion sounds) So you can see I kinda faded it out as it was going into the next section. I try to have it tail over into the section that comes right after the down beat of the next part. So you'll hear a bit of crashing coming in but by that point it's fading. Sorry I didn't mean to do that. It's fading out and you're not gonna hear that in the context of the mix. We're also by the way listening to these toms completely raw. You can see there is no processing at all apart from the master verse stuff that we've got. (percussion sounds) Find some with a nice flot on here for us. (percussion sounds) There you can hear an examp...
le of somewhere where I used a much longer tail just cuz we're going into a section where the drums stop and I don't wanna hear the toms disappearing out really quickly so I would have used a longer fade on there. But hopefully you can also hear those toms are sounding really good already. If anything I'd say maybe they're just a little bit bloated sounding so first of all I'll look at what I might do because all those toms were recorded with the same microphone I generally find that they take a very similar treatment. The positioning was consistent from one to the other as well. I'm gonna go to this section here which has a lot of toms. It's the tribal section from the song. (percussion sounds repeating) And hopefully you can see here what I'm doing to the toms. It's really not very much I'm just bringing up a little bit of extra top end. I'm cutting a little bit around 700, I'll show you that's a very ugly part of a tom sound for me. That area, especially with coated toms can be out of control. I'll boost it so you can really hear what that's like. (percussion sounds repeating) It really brings out the worst.
What was that we couldn't see again.
That's somewhere around, that's about 700.
700 hertz. But what I would have done to find that would have been, in fact I'll do it now I'll boost then I would have jogged the frequency around until I found somewhere which sounded ugliest and then turned that into a cut. (percussion sounds repeating) Everywhere sounds uglier around there so it's a case of finding the worst offender.
Then will you use a slightly broader queue there?
Maybe, yeah. I just do it by ear. This key controls the queue. I didn't go super wide on it. If I can I like to try and leave some of the character of the drum in there. I don't want to scoop all the mids out. You'd hear a lot of recordings where they probably would. And especially down here as well you might find a lot of 300 being taken of the toms but to me that's again where the life of the drum is. So, again I would have boosted around here and I'll do that again now to find the muddiest area and cut that a little bit. (percussion sounds repeating) So to me about there. If I cut that a bit. (percussion sounds repeating) It still sound very much like the same tom sound to me. And this is also showing to me that if the tom sound you record isn't good, you're really gonna be fighting it. It has to be good at source. It takes a lot of attention to detail especially to maintain the tom tuning throughout the recording process. I am high passing it. I don't know why I'm high passing it so low. Probably around 40 is probably appropriate. Just so the big tom doesn't ring out with too much low end. But that's pretty much all I would do to it as far as the EQ goes. I do apply just a little bit of faster tech compression but actually I think I made a mistake here I was gonna use a limiter instead to do this cuz that tends to have a bit of a cleaner sound. Here I'm gonna use the waves L one limiter which is a basic, good all purpose limiter. And the thing with toms is they are melodic and I find that unlike the snare and kick I'm not necessarily trying to exaggerate the attack of them they actually have a ton of attack and if I exaggerate that then all you hear is the attack in the mix. So I try to do the opposite I want something that's gonna be really fast, like some kind of compression or limiting that's super fast to take the peak off and exaggerate more of the sustain so this is kind of reducing the dynamic range of the drum. So, this is again on the bus, and I'll hit play and bring this down until I feel like they're sounding more rounded. (percussion sound repeating) That's working pretty well for me around there. What I have on every channel is kind of an even more drastic version of what I have going on with the snare which is just gonna take out all the top end between the hits. That's kinda the last piece of the puzzle. Maybe I should have put that on a bit earlier though because that does also mean you do less EQ-ing. The sustain of the drum naturally has less of those really ugly frequencies in it. So this is the toms' sound now without parallel compression or reverb but with the top end being taken out after the hit and with just rough EQ and limiting. (percussion sound repeating) It's really not that drastic difference from where we started and if we listen to that in context, (heavy rock music) Now even though we've taken off some of the transient using this limiter to me this is where the parallel compression is gonna come in to really fill in the sustain of the drum. So let's listen now with parallel compression. (heavy rock music) I might even limit it a little bit harder. I'm hearing still quite a lot of the attack of the drum coming through. And then finally reverb is gonna help with the tail end of the drums and get more of an airy sound to them when they're stuck. So this would be the final tom sound. (heavy rock music) That's pretty much all I need to do to the toms for this, for me. I find some other areas with some tom hits so you can hear them in a different context. (heavy rock music) So you've heard a whole load of toms being hit in there.
Vinny has a question, "Nolly do you hand separate all the individual tom hits and then apply manual fades or do you use gate with a longer release?"
No I hand, I do that by hand.
You do it all manually.
I did that last night.
Then you're also using a gate as well.
There's not gating on, well.
Well it's the whole side band gate.
Yeah, that's more to reduce the top end. But it's not gonna affect the sustain of the tone.
Awesome. E Willison wants to know, "Nolly do you ever have a phase issues with parallel compression?"
No, I've never had that be an issue. Logic has very good latency compensation I know that Pro Tools can act strangely sometimes with parallel processing if you don't have latency compensation on but there's no reason why, unless there is something wrong with the blatancy of the plug in is reporting to the door it should line up just fine.
That would actually be one reason why I like to do it in the box rather then in using out board gear because inevitably the send out through the gear and back is gonna introduce a delay that could give you some kind of negative phasing direction.
K, Do you send pre or post fader when sending a parallel compression?
I send post fader. I wanna keep that balance between the level that I want of the instrument and the amount of parallel compression. I don't want to pull the toms back or make the toms louder and then have way more sustain coming through on the more, pull them back and, wait, the other way around. I want to keep that when I turn up the tom track I want the amount if sustain to stay.
Periphery is one of the most influential bands in the progressive rock/metal scene. They’re known not just for being great players with great songs, but also self-producing their most recent double album “Juggernaut.” In this class, you’ll get an exclusive, behind-the-scenes look at exactly how they did it, lead by Periphery bassist/producer Adam “Nolly” Getgood and drummer Matt Halpern.
First, they’ll track drums live in the studio, showcasing some of the techniques Nolly uses to capture Matt’s unique, nuanced performances. They’ll cover their approach to tuning, mic selection, mic positioning, and some of their own tricks for handling mic bleed and other common challenges.
Next, they’ll walk through a complete mix using an actual session from “Juggernaut” and the drum tracks they just recorded. They’ll cover their overall approach to mixing, then go into detail on approaches for compression, EQ, and effects for every instrument.
This class will also include all of the samples that Matt and Nolly record live on the air available to download along with a bonus video of Nolly showing how to mic a guitar cabinet using the technique that he used to get the guitar tones on the Juggernaut album.