Hey Drew! Since I've learned to eq toms by boosting the fundamental and then cutting the two octaves above that fundamental, (to get rid of overtones and resonance) I have been able to use the key filter on the gate set to the fundamental and kept on "self" as the source. It may not be as effective as triggers but it's far better than just the gate with no key filter on. Boosting the fundamental allows for less preamp gain and makes it the loudest source for the gate. I used to be that guy that CUT the fundamental to get control of the tom. STOP lol. I get killer toms with this eq method! Easy to do too. Once you have boosted the fundamental, double that frequency and CUT it. Then double the frequency you just cut and CUT it as well. Add a little 3-4k for snap depending on drum and mic and you have an excellent source for your gates to work on! Cheers!
Overinvolved? lol Boosting one frequency and cutting two others is too much for you? And them "major" studios you refer to are probably more with the program than you. The Drum EQ plugin by Harmonics is built around the whole concept of harmonics and fundamentals. I'm not the only one saying bye bye to samples because of this method. You get butthurt and insult people AND act like a bigshot that "knows" lmao! You're just wrong about "legitimate" engineers not mixing this way. I KNOW that for a fact! I will say this though, a legitimate confident, considerate human being doesn't get butthurt and insulting over something like a suggested eq method. So, where does that leave you?
Hey Drew! I would love to see a video on doing a virtual sound check using Waves Superrack Sound check and all the possible ways to route the audio from a DAW computer to Superrack and to the console
Clean things up by low-passing the toms. There's nothing up there we need to hear, including stick click (which a lot of folks boost). (Stick click makes it easier to hear THAT a tom was hit, but harder to hear WHICH tom was hit.)
Hello. First of all, congratulations on your RUclips channel, very good content. Second, I have an x32 and when I use the navigation panel to leave the faders at 0, the system shows 0 on the screen, but the fader is close to -5. How can i fix this? How can I calibrate the faders with respect to system 0? Thank you very much and keep generating good content!
Hey Drew, since you helped so much a few weeks back, maybe you can answer something I can’t find anything on. I am playing back a band recording on XLIVE card to do a mix practice, out mains and IEM, mute buttons work for individual channels but I hit solo and green solo lights up but does not solo individual channels. Please help, Thanks!
Is it really necessary to use triggers for this gate keying technique? Wouldn't it be enough to duplicate the microphone inputs to a free channel, set the EQ and so on? Basically, keying the channel with the microphone, which I only key using a gutted equalizer
Hey Drew, thanks for your video. The Roland trigger needs a DI - Box between trigger an stagebox? So I canˋt go direct from the trigger to the stagebox?
I don’t really get why you are eq’ung the triggers and using the filter. Just using the filter on the gate works fine. Boosting those higher mid frequencies makes the triggers pick up more of the cymbals and other Tom’s. Just solo the gate key and dial in what you want to key off of there. Tom release seems a bit slow as well.
@@mclovinfuddpucker I've seen some live-sound engineers do this. Usually the ones, that mix on huge PAs with high output volume. Some do this intentionally to attenuate frequenciesin the range where our ears are most sensitive. When I listened to his mix loud it sounded OK. Who knows how loud his in ears are adjusted...
Hi Drew. Great content! In regard to the trigger. Is the output of the trigger going to a Drum Sound Module prior to going to the DI box? Also, should I be concerned with any latency ( delay the trigger or mic signal) between the mic and trigger to make sure the gate opens at the same time as mic signal is coming through the console?
My question is, why is this useful? It's normal for drums to have some bleed and since the drummer plays them at once, what's the difference? You're not gonna hear that small amount of bleed when you unmute the overheads, and nobody is going to listen to that one tom solo'ed to check if the bleed is there or not.
It is subtle in that genre. You are correct. However, in more "gospel"esque productions, it's not as subtle. We feature the kit a little more, adding to the clarity and distinction.
It really depends on the drummer. If they are wailing on the cymbals, or if the cymbals are dropped lower close to the toms, no matter where you mic them you are going to get bleed. When this is the case, adding in the trigger channels like this will help keep that cymbal bleed opening up the tom mics. This is more of a matter when the toms need to be really pushed in the musical genre.
@@DrewBrashler Well, that makes sense, apologies for my kind of passive-agressive tone. In the space I'm mixing in usually tom bleed is the last thing I have to worry about and I haven't encounter such problems yet
Interesting technique alright, I tend to think it would be more useful with recordings than it would live. BTW that drummer needs some help tuning his toms - they sound like pizza boxes!
It's very useful when using this live. Had to mix a band with a drummer who requested to have all 6 of his toms being mic'd. Those toms sounded perfect. Crispy attack, round tone and lovely sustain. But having those open for the whole show would introduce tones of overtones (when not played). Gate didn't really help with the amount of toms. So i did the trigger-trick. (Had to borrow 3 extra triggers 😀) and it was perfect.
Hey Drew! Since I've learned to eq toms by boosting the fundamental and then cutting the two octaves above that fundamental, (to get rid of overtones and resonance) I have been able to use the key filter on the gate set to the fundamental and kept on "self" as the source. It may not be as effective as triggers but it's far better than just the gate with no key filter on. Boosting the fundamental allows for less preamp gain and makes it the loudest source for the gate. I used to be that guy that CUT the fundamental to get control of the tom. STOP lol. I get killer toms with this eq method! Easy to do too. Once you have boosted the fundamental, double that frequency and CUT it. Then double the frequency you just cut and CUT it as well. Add a little 3-4k for snap depending on drum and mic and you have an excellent source for your gates to work on! Cheers!
That is a sweet EQ method! Thanks for sharing!
Hey! You've helped me TONS!! Always willing to pass good stuff around. Cheers!
Overinvolved? lol Boosting one frequency and cutting two others is too much for you? And them "major" studios you refer to are probably more with the program than you. The Drum EQ plugin by Harmonics is built around the whole concept of harmonics and fundamentals. I'm not the only one saying bye bye to samples because of this method.
You get butthurt and insult people AND act like a bigshot that "knows" lmao!
You're just wrong about "legitimate" engineers not mixing this way. I KNOW that for a fact!
I will say this though, a legitimate confident, considerate human being doesn't get butthurt and insulting over something like a suggested eq method. So, where does that leave you?
Great but what is the fundamentals (approximately) for one up tom and a floor tom?
Just realized Drew's voice sounds exactly like VSauce, Micheal. haha Great video as always!
I use triggers with Roland tm-2 drum module . Works perfect in worship context. Specially for kick drum and snare.
Brilliant! Can't wait to use this technique. Thank you.
Hey Drew! I would love to see a video on doing a virtual sound check using Waves Superrack Sound check and all the possible ways to route the audio from a DAW computer to Superrack and to the console
Use Gate Sidechain Filte correctly and this is it!
Work perfectly.. Ever!!
@@mclovinfuddpucker That is not entirely correct. Sidechain allows greater dynamics despite Gate!
Work perfectly....EVER
Thank you so much
Brillant and usefull, thanks 👍
Glad it was helpful!
What would be really cool is if you could have the key source trigger a sample from a usb drive.
Please make a Video using the Wing with the Midas DP48
First!
Love your work brother!
Thanks so much!
Clean things up by low-passing the toms. There's nothing up there we need to hear, including stick click (which a lot of folks boost). (Stick click makes it easier to hear THAT a tom was hit, but harder to hear WHICH tom was hit.)
Hello.
First of all, congratulations on your RUclips channel, very good content.
Second, I have an x32 and when I use the navigation panel to leave the faders at 0, the system shows 0 on the screen, but the fader is close to -5. How can i fix this? How can I calibrate the faders with respect to system 0? Thank you very much and keep generating good content!
Hey Drew, since you helped so much a few weeks back, maybe you can answer something I can’t find anything on. I am playing back a band recording on XLIVE card to do a mix practice, out mains and IEM, mute buttons work for individual channels but I hit solo and green solo lights up but does not solo individual channels. Please help, Thanks!
Brilliant bro, is it possible mostly for kick on smally xr18?
Is it really necessary to use triggers for this gate keying technique? Wouldn't it be enough to duplicate the microphone inputs to a free channel, set the EQ and so on? Basically, keying the channel with the microphone, which I only key using a gutted equalizer
u dont need to send to the mains just to use to trigger the gate
ruclips.net/video/rn8ldUsv_K4/видео.html @@mclovinfuddpucker
Hey Drew, thanks for your video. The Roland trigger needs a DI - Box between trigger an stagebox? So I canˋt go direct from the trigger to the stagebox?
I don’t really get why you are eq’ung the triggers and using the filter. Just using the filter on the gate works fine. Boosting those higher mid frequencies makes the triggers pick up more of the cymbals and other Tom’s. Just solo the gate key and dial in what you want to key off of there. Tom release seems a bit slow as well.
@@mclovinfuddpucker I've seen some live-sound engineers do this. Usually the ones, that mix on huge PAs with high output volume. Some do this intentionally to attenuate frequenciesin the range where our ears are most sensitive. When I listened to his mix loud it sounded OK. Who knows how loud his in ears are adjusted...
hello Drew, flawless as usual, what triggers are you using?
Thanks so much! I use the Roland RT-30HR: sweetwater.sjv.io/zNmVRW
Hi Drew. Great content! In regard to the trigger. Is the output of the trigger going to a Drum Sound Module prior to going to the DI box?
Also, should I be concerned with any latency ( delay the trigger or mic signal) between the mic and trigger to make sure the gate opens at the same time as mic signal is coming through the console?
Having a issue with my x32 not syncing with s32 have to go to the clock in the settings every time I power up? Any help would be appreciated
How do you control the DAW from the console? Can you make a video?
I believe he covered this a while back. Check for older vids
Do you have video for using trigger on drums with behringer wing?
Same principal. EQ your triggers to emphasize each trigger's drum hit. Set the key-source for the gate, taylor the Q.
is there an way i can get these multis to practice mixing?
Hey drew can I please get x32 scene of your consule
what is the difference between dual-trigger RT-30HR and RT-30H
which one is better to use dual-trigger or single trigger!!!!!!😶🌫
Either one will work! Sometimes it is easier to find the HR.
My question is, why is this useful? It's normal for drums to have some bleed and since the drummer plays them at once, what's the difference? You're not gonna hear that small amount of bleed when you unmute the overheads, and nobody is going to listen to that one tom solo'ed to check if the bleed is there or not.
It is subtle in that genre. You are correct. However, in more "gospel"esque productions, it's not as subtle. We feature the kit a little more, adding to the clarity and distinction.
It really depends on the drummer. If they are wailing on the cymbals, or if the cymbals are dropped lower close to the toms, no matter where you mic them you are going to get bleed. When this is the case, adding in the trigger channels like this will help keep that cymbal bleed opening up the tom mics. This is more of a matter when the toms need to be really pushed in the musical genre.
@@DrewBrashler Well, that makes sense, apologies for my kind of passive-agressive tone. In the space I'm mixing in usually tom bleed is the last thing I have to worry about and I haven't encounter such problems yet
lol
i feel it will great for recording studios
Hey drew is there another way to record multitrack frow the wing apart from the USB B port?
Yes you can record multi'track through the SD CARD port, all you need to do is go to the routing menu and set it up
How does a trigger look like?!!
Interesting technique alright, I tend to think it would be more useful with recordings than it would live. BTW that drummer needs some help tuning his toms - they sound like pizza boxes!
It's very useful when using this live. Had to mix a band with a drummer who requested to have all 6 of his toms being mic'd.
Those toms sounded perfect. Crispy attack, round tone and lovely sustain.
But having those open for the whole show would introduce tones of overtones (when not played).
Gate didn't really help with the amount of toms.
So i did the trigger-trick. (Had to borrow 3 extra triggers 😀) and it was perfect.