Panning and Balancing the Mix

 

Studio Pass with Tommy Rogers and Jamie King

 

Lesson Info

Panning and Balancing the Mix

Think we're ready to start mixing, so that makes it a lot easier for vaughn. Yeah, I mean, a lot of our work is doing, I don't have to do like what the vocals I don't have to go through and do a bunch of vocal rides, turn stuff up on deck, and that could take, you know, forced song you can who spend an hour just creating vocal rides and what, you know what? I was able to even them all out and, like, you know, might spin, you know, five minutes going through and to turn, you know, listening through turning up certain, you know, phrases or words that air just not cutting through it, which is another but yeah, just a damn feel it makes it a lot more easy and to me, although, you know, the tones of stuff for bigger, fatter for those of you watching, I like said, I I usually start, uh, my sessions with a kind of vault ballpark template so that the levels are in the ballpark and and that there's going to be provided so you guys can download it and, you know, and see where I start and this is...

this. You know, this is tommy sessions says some things have been tweaked, but it's still not very far off from where a star you know is when we started recording the drums, we plugged it looked the mikes I've got the game structures like the drums down pretty good it's not like the snare was crazy loud or the the time you couldn't hear it or whatever, you know, none of that, you know, it's kind of in the ballpark and and as you can see here, I've kind of got a ballpark kind of mix happening where I usually start let's just see what the drum sound like just so drums out. Yeah, one thing I usually try to do what I'm doing drama you guys get the drums kind of in the ballpark. Yeah, there's a little bit of drama eating normally usually do like these unlike say, we've got solid organic takes of actually, ah, might talk talk a little bit about I'll try to talk a little bit about my sample, uh, like blending and replacement process if we have time, we didn't use that on tommy's record in tommy's performance was solid enough to where we don't really need it now, but but like said there's one's pretty standard process like like I said earlier, like the accent simple stuff I could the ride since he didn't play the ride. If he did, why the ride? I would just keep it where he played the ride, the high hat, but also the tom toms if you listen to the time there's a lot of bleed from the other room from the other from the symbols and stuff, and that can really kind of because you want to pay and you're tom's out usually, uh, not quite as hard, right and left, if you have, like five or six times, you want to kind of like either, you know, create a stereo filled or stereo images if you're standing in front of the kid or behind the kid, whatever your preference is there, but that can really superior symbol stereo image it's, pretty standard forest panning whatever most people believe the kick up the center and leave the snare of the center, some people paying to stare a little off center you know, it's all preface, I usually leave him in the center, the tom's. Like I said, I'm a drummer, so I have to mix with drums pan from germer perspective, it just feels weird to me. It doesn't make sense honestly, for the final product to be that way, if you know if you want, you know, to project how you sound live or whatever but a lot of the bands, you know, a lot of the drummers like those rooms pan stares, you know, they want to put the the list or behind the kid and I go blank likes that I like it like that. Yeah, I mean, it's, just one of those things. It's. A total preference is no right or wrong? Only about what? Hey, it was that ride on the lift. Or was it on the right? You know, because what if the germans left handed like the drummer from use? I mean, it's panned it's paying audience perspective, but it sounds drummer perspective to me, so, you know, kind of one state there's a preference, but as far as japan is concerned up, yeah, like said the my symbols, I usually do my overheads left and right this hard left and right, the, uh the accent symbols. I usually pan those as to where they are in the kid. So you have a china on your, uh, the drummer, right? I just penned the mike to the right. You know, if you have a splash in the middle, I leave it in the middle, you know, you can get creative with and do other things, but I try toe just create the you know this answer behind the drums or at least out in front of the drums you know and it just gives us a minute makes it interesting and gives some debt I said the far room keep mano in the middle the the ah the room ambien tracks whatever I usually keep paying left and right and this this is to create a sense of space make the drones make it give you make you feel like that you're in the room with the drums either behind the drums in front of the drums um we're at the concert you know, something has been done since the inception of stereo loose around here a lot of the uh um a lot of early rock bands or whatever they would put their drum set on the left and like the vocals on the right and he did a lot of weird stuff that's not a popular now you know, somebody did that now they're really one of those weird but some bands he'll do it well though I mean I think the right sound that work is still works yeah there's no rules of panting you know aside from you know you want the low in stuff needs to be paying centered yes, the human ear can't distinguish low in like low base or low kick drum the low of the kick drum whenever we can't distinguish it being left or right so literally if you make the low frequency stuff stereo it just it actually smears your mix of anything you know one hundred hertz maybe even up to one hundred fifty hurt sometimes uh with exception in my opinion of tom's of guitars but most of low stove like bass guitars lows of the low stick yeah, they have I I use the pool again from brain works called him uh I don't know what it's called but it has a thing called a mano maker on it that actually makes the lows you know, one hundred hertz one hundred you can sit you know the frequency where we want but it seems that makes all the lows monitor on the mix or whatever so that's really useful tool in it and it makes the you know it keeps your stereo field wide it keeps it your stereo field being money toe um but yeah, like said again with the symbols I usually this is a standard thing I could all the tom bleed and I can you know, just because I've been doing this for a long time I could see where the toms are. Tommy has this time in true here and I usually like about a second and a half of residents uh I think the standards kind of like one second just like a little more so here's a tom he hit a little bit of residents coup and I fade down now some people do this thing where they actually could it at a beat and that's fine, but to me, sometimes that can sound natural special for drums by itself, so I found this ah, technique works pretty well and what I'm doing ah, you can see I'm actually I'm tapping to transit to the beginning of it, and I've got my no said at one point five, so I'm nudging over making a cut, and that gives me the whole resident of the tom one point, five mile moving too fast time and you guys can complain online if I'm moving too fast and I'll slow down, well, they can just upgrade to any time access and then just watch put it on no, but yeah, I mean, when you see what I'm doing in this it's like said, I'm just taking out the assembly here's the way don't need that in the record and that's just the symbols of stuff coming through the time like, I like, I like the time because I want to, you know, captured tom's course of dennis pita, but I've gotten all the symbols the bleed out of the tom likes there and, uh, be a keyboardist e can't shred musical trade, some editing at this point sold er but like that, this is going to really clean up our drone performance of whatever like said I mentioned on the first day whatever about this there I think you've got some symbol bleed on their mike that's inevitable we can't get it all out it's just impossible but with this it really helps clean it up know if you know usually there's one of those little glitches I might just do a temporary come on pace it's a temporary fix there was just one of those aa digital dropouts for that due to that pre in which we had um uh yeah like said that's the basic editing I usually do for the drums also at the end of songs or whatever of course, you know, like it the uh there's symbol decay or something like that usually kind of tidy that up this is all stuff you can do with automation too, but I just actually do it on the on the file like avoid automation. So much is possible using automation sometimes yeah, like few have ah ah drum part with well a lot of stops symbol chokes and things you can actually accent you know it's kind of you know by myself with my central unnatural tau actually cut the silence after the drum chop whatever the symbol to choke or whatever but you can really make it the song sound more punchy it has an effect on, you know, depending on style of music, obviously for rock, I might not do that, but for, like, a metal project when the symbol choke spots I really I'll clean out the, you know, that extra symbol decay and things like that just to actually make it just really start, you know, really, really punchy. Uh, like said every I've got everything, you know, stuff some stuff in the ballpark. I you know, I think it's really important to kind of dial up the tones. Um, you know, e q eyes and things like that with other stuff in the mix, like what's does sound like by itself means nothing to me, uh, needs to, you know, because you can dial up a drum sound by itself, so load that all this is fantastic and listen to what the mix and, like. So thin it's ridiculous. You know, um so, like said I used to kind of like, you know, maybe now had the drums a little louder in the mix and you would normally want it. But, you know, tryingto get playing in the mix to get an idea where you need to go eek iwas.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

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