Today we are talking we have another part of our 'Mixing Basics' series! You can download the multi tracks for the 'Owl Song' by 'Me and the City' below the video! Thanks everyone who watched the premiere live! That was a lot of fun!
God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
Thanks ever so much Michael! Eric and I filmed this almost in real time! Haha Wanted to make sure that people knew you can do this fairly quickly implying simple techniques!
God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
@@NightDocs God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
@@Producelikeapro God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
This is the beauty of RUclips. Professionals sharing information that was impossible for someone with no budget. Or who is living in a remote place without access to engineering school like we have here in Nashville etc... Brilliant channel! Thank you for sharing all of these, and your interviews.
Ever since a friend introduced me to Cubase, I entered the arena of music production and was greeted with a thousand eager RUclipsrs telling me this, and not to do that whilst simultaneously attempting to sell me their wares. Watching your methods made me realise that music production is the one pursuit that teaches me the meaning of the word humility. Thanks so much for your tuition. I like the way you communicate the language and your tutorials form a solid foundation on which to build my mixes.
Just wanted to say a big thank you for all you have done for people like me who are trying to absorb as much as they can. I've been playing drums professionally since I was 19. I'm 46 now and have my own studio for doing drum tracks. Now, I'm wanting to mix other people's songs. It's a passion I didn't know I even had. After watching your videos, it's no wonder why people want to work with you. You have offered so much, you take the time to engage, you have a great attitude, and you are full of talent. A shining example of what it takes to carve out a career. A true inspiration. I cant thank you enough. Here's to many more years of getting to do what you love!
2022 I'm just now getting around to watching this, and it's amazing. You kept doing things a little bit differently than I've seen done in other videos and done personally but there is no denying the before and after results.
Wow! And this is where a true mix starts from, just eq and compression and not all these other fancy plugins...i do believe though that fancy plugins have their use, but eq and compression are like the block builders of a beat/song. Amazing job you did here..🔥🐐💯👊🏽
It is always awesome to comeback to these videos. Makes me remember how I got into producing and mixing music! Thanx Warren and EVERYONE at PLP!!! U ROCK!!!
1-2024 7 years before you made this video, many got me started in this. Now I have built my 10x10 Studio, good equipment, learned guitar, Sound design, music Theory, learned some piano, electronic Analog/Digital recording with all Studio One DAW just now starting learning How to mix the Tons of Drums (TT-EZ2. XLN, IKMM 3.5 MAX & BFD3) . ALL SMILES Can NOT Thank YOU Enough 😁
Honest, down-to-earth yet super informative. I really like how you're bopping your head along the tracks. It's really about feeling the beat, isn't it? Warm thanks to you, Warren!
I can't tell you how much I enjoyed following along with this video and mixing drums for the first time. It sounds SO much better and I'm simply amazed. Thank you ever so much!
Thank you so much Warren for showing us these mixing techniques with mostly stock tools and methods! The final mixing really brought clarity to the drums and the overall song. I get better each few weeks with your help. Stay marvelous!
Thanks Warren! This is filled with so many great tips. Does anybody here have good advice for mixing drums when you just have a single mono recording of the drums? My cover band usually plays at my company's annual picnic, but due to social distancing the picnic has been cancelled and so we're going to do some "quarantine videos" instead. My performers don't have good recording equipment, so I'm mostly just pulling audio out of mp4s recorded from their phones. (Constraints breed creativity!) This worked out okay for most, but the drums were particularly tough to mix. Here's what I ended up doing: 1. Copied the drums into two separate tracks. 2. Aggressively high passed at 3k on one copy of the drums; basically using this one as a proxy for the overheads. 3. High shelved the other copy of the drums, allowing to compress the kick and snare without getting too much cymbal wash. 4. Converting the drum track to midi was only able to identify the snare, not the kick. :( Then did the "Andy Wallace" reverb trick, using the triggered snare just to add reverb to the live snare.
Some techniques to try: EQ automation (so you can enhance a kick drum, snare drum, hihat, etc only when it is being played), layering in samples to get the transient effect and tonality that you want, or at an extreme level, adding in a multi-mic studio recording of the duplicated drum parts (note this can be very difficult)
Huge difference in the whole drumset! Thanks for sharing! Every step counted as each one was improoving the character of each drum further and further! No waste here. Master.
I basically repeat everything you've shown me over the few years that I've been following you but if not for you, I'd have no idea what I'm doing. I kinda still don't haha but you have been so helpful!
That was great. Very helpful to hear you explain what you were hearing and why you made the adjustments that you made and to see and hear the evolution from dull drums to exciting drums. You were right, too, the better drum mix made the rest of the mix sound a little dull.
Another neat trick to boost 60Hz (and only 60Hz) on the kick is to create a channel with an oscillator at (you guessed it) 60Hz. Then you insert a noise gate with a side chain triggered by the kick for opening the gate. That is the cleanest way to boost 60Hz without touching any other frequencies or risking the boost of any unwanted noise in the kick signal.
Just wanted to say thank you. Nothing completely mind blowing for me in this video, some nice tricks and ideas here and there - but in the end it comes down to you, taking all the time explaining it. Thanks for that, thank you for making these videos.
Learned so much from this one! Apart from the great EQ techniques especially the sampling of bass and snare brought the old drumkit in my mix to the next level! Thanks!
Thank you so much Warren! Your videos are amazing! Would be fantastic a "Mixing Basic" for the treatment of VST drums in cases where there are no organic drums in the mix. I guess there are small differences to apply
Thank you so much for this Warren. I always feel so inspired just watching you mix and listening to your thoughts behind your techniques. Awesome video.
Question lots of people use a sample k over an Acoustic kick for punch and body can u make a video getting an acoustic k as close as u can to a sample k with out using a sample k (lets say dance song Bruno mars Vibe) thank u and stay safe
Super informative! I really picked up a lot of compression fundamentals from this video that I wasn't aware of. I also like the way you are using several eq's on the same track. Really cool to hear the overall difference in the end. Keep the good work Warren!
Amazing tutorial! I’ve watched countless videos of yours and learned so much. I’ve been eyeing looploft for drum samples and wanted to know if you’d recommend it? Many thanks
Super amazing info as usual. I love how clear you explain this stuff. Very helpful. Drums are a huge animal, thanks for letting me attempt to grab those reigns. Yeehaw!!
do yall hear the gate on the acoustic snare mics chopping off the transient at 19:10? It sounds like a hard click... like attack is too slow, or it needs look ahead or something. I'm guessing it is because some of the acoustic hits are micro seconds before the sample, so the gate is triggered late. It sounds better when he brings up the sample into the mix like it mostly masks the hard clipped transients of the acoustic mics.
Hi! At 10:00...Why is your bass drum compressor showing no compression/ gain reduction??? Were you actually compressing? You were adjusting as if we’re hearing it, I didn’t hear it or see it. Can you explain?
Produce Like A Pro ok. But I’ve never seen a PT compressor compressing WITHOUT seeing the yellow gain reduction meter registering that reduction. Please check you vid at 10:00. Plug is not showing any reduction. That’s where my confusion lies. Best, Sean
Hi Sean McDonald yes! I went there, you can hear it and if you look to the right you’ll see that it goes over the threshold, however because it’s so short you don’t see it, although you can hear it. This reminds me a little like the opposite with peak indication showing a red where a transient hits for a nano second although it’s so short it’s inaudible. It’s a reminder that we should always use our ears and not rely on our eyes to tell us what we are hearing. I hope that clarifies?
Hi Warren, depending on what do you decide if processing every kitpiece with EQ > Comp or the opposite Comp > EQ? What are the differences in these two different signal processing? Thank you so much for all!
Valerio Rizzotti marvellous question! The basic answer is if I’m trying to be aggressive with EQ and maybe bring out some snap on a snare for instance, I will heavily boost high end into a compressor! If I want to be a little more subtle then I might apply some EQ afterwards to remove unwanted low mids or any frequencies I don’t like. That’s a very basic idea of what I do!
Amazing info my friend, just a little thing, that sidechain sample trick you did, you actually forgot to enable the sc input on the gate. I'm sure you got this sorted on the final mix tho. Lots of gems in here as usual.
Hey Warren, been a fan for some time and not said anything as I recall on your bla bla down here - but I have to thank you brother for your great vids and sharing stuff that takes a lifetime to accumulate. Been in Electro/mechanical engineering all my days and it is rare to find people who pass on knowledge, they would rather make themselves indispensable instead! (Then just die ..) I have a mix of my own to get a crit on - any way to pass it by you Sah?!
Hi Warren, I notice your levels on the left are in a safe place but the tracks have beautiful visible waveforms. I find that my waveforms are tiny and hardly visible despite my signals on the left being between -2 and -10 for instance on the kick drum. When I clip gain I can see the waveforms in a similar way to yours but then I'm totally clipping on levels on the left. I must have missed something basic, can you help me to understand how to zoom in on the waveforms without making the track heights massive so only a handful fit on my screen. Sorry for thr lame question and thanks for all your work.
It’s a great question! Parallel compression on your drums will add energy and also increase overall level. Peaking transients need to be controlled, compression and limiting just shaving them off will allow you to get more level without distortion
Dear Warren, I use a kick with no holes and I have a question! , I usually put two mics: one close to the head (47 style) and a ribbon from around 20 cm looking at the kick from a 45 degree angle. If both mics have a high content of low end, would you advise hi-passing one of them, or instead you would treat them with similar eq? Thank you for this video, it's very useful.
Hmm I’d have to hear! It’s possible the close mic could have more high end for the attack. However, sometimes the one pulled back is the most accurate sound of the kick
@@Producelikeapro yes, the ribbon makes a beautiful picture of the kick, but it also catches a lot of the snare and some cymbals. Thanks for the comment!
I'm watching the video and I am at the kick drum part. I generally like it! The one thing I don't like is the adding the sample part because I don't have the ability to do that, and I won't for the foreseeable future. Do you have any videos on mixing drums without the sample addition? Thanks. Great stuff!
Amazing video Warren, thank you for all the content you create. I have one question about mixing the kick, did we use the gate here just to get rid of the bleed from other parts of the drum-kit, or is there another purpose here? Thanks!
Would you use Beat Detective before you do any of this? I also just wanted to ask about the polarity: What is the plug in to reverse it? Is it stock in protools?
You can use audiosuite reverse polarity in Pro Tools or simply use the trim plug in and flip it. Also many other plug ins have polarity switches on them as standard
Hi guys, I've a question about phase. Working track by track as Warren does don't I introduce phase issues with OH? I've been using Auto-Align for one week. But I have a question. I'm editing and equalizing my drums track by track because I need to freeze my tracks due to CPU powerless. I should put Auto Align as first plugin and after that equalize but doing so I would reintroduce phase issues, right?. For me it has more sense put it after eq. What do you think?
Hello Warren, if you are mixing ITB enviroment and don't have an SSL mix console, do you use ssl E channels plugins for the EQ of every part of the drums kit or it's depends of the color do you want on that (if you want it)?
I really like your style of teaching. Very clear and engaging. Quick question, at which point in the production of a song (e.g., the owl song) do you achieve such a 3D sound to the mixes where it feels like the bass is coming out of everywhere? The vocals sound so full! It is like your ears get a load of perfection. Is it the mixing, the mastering stage, etc? Would love to learn to mix/produce a song to this level.
Thanks ever so much! I have quite a few songs where I mix them live and also there’s a lot of tracking videos! Feel free to dig around and learn, we Kato’s have an Academy if you’re interested
Hi Warren ! After the drum processing is done and drums sound about right ,in most cases the master bus is close to clipping and when the whole song you turn on, the master bus is clipping bad . So you can decrease the level of drum bus or whatever but then drums start to sound weak again - put the limiter on and they start sound not natural - how can you deal with these levels ? I'm watching a lot of mixing videos but everytime I see the final product it sound good but master bus is just red and nobody want to talk about this. At the same time you need to have your mix headroom at -6db or lower for mastering engineer . Is it correct way to just turn down the gain for all master mix till it hits -6 db and then you can start master your song , or there is other technics to have levels right in mixing process? Thank yo!
Nicee! This puts a lot in perspective for me!! One thing I don't understand though is why are you making use of additional kick and snare samples? Is it always recommended? If not, when do you use it and when not? Thanks.
Marvellous question! I use two different methods of placing samples! Firstly I can just place them one by one by babbling tp transient, or I use Melodyne to capture the MIDI information and then trigger it using Addictive Drums, I hope that helps?
When you say 100hz is where the bass guitar sits, what note is that? Is that bottom E, the lowest pitch frequency the bass can occupy? Surely the freq where the bass sits depends on the musical content of the song. Or is 100hz more harmonic content? Cheers Warren
What I tried recently was to record a mic out in the bigger room next to my studio. The problem I noticed was that it was making the kick quite "flabby". I tried to line them up but it doesn't seem to be helping. Any advice?
A lot of the flabbiness is the 350hz and the build of multiple mics around 100hz! Otherwise you could try gating the kick so it's a little shorter as well!
Warren, what do you think about pitching one or the other of the kick drums so that their waveforms match better later in the hit? Surely not a big thing at the lower levels, but might be interesting.
That's definitely a good idea in many situations! Getting the samples close to the original source is a great way to have your drums sound as natural as possible!
Hi Warren, it seems like in addition to proper compression and eq on your live recorded tracks, samples are the key to giving your drums the really fat and punchy sound. If we don't have access to using samples like this, do we just have to do our best with what we have in the dry takes? Or are there things like reverb or something that can fatten it up? Thank you and love your videos.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Today we are talking we have another part of our 'Mixing Basics' series! You can download the multi tracks for the 'Owl Song' by 'Me and the City' below the video! Thanks everyone who watched the premiere live! That was a lot of fun!
God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
The way you made the bass drum fill out the low end without the mud was really amazing to hear, plenty to learn here!
Thanks ever so much Michael! Eric and I filmed this almost in real time! Haha Wanted to make sure that people knew you can do this fairly quickly implying simple techniques!
In The Mix the man himself! Love your videos as well!
God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
@@NightDocs God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
@@Producelikeapro God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen!
***KICK***
2:00 Polarity
4:07 EQ
7:17 Gate
8:47 Sample as side chain signal for gate
9:50 Compression
11:45 2nd EQ
13:53 Bus Compression
15:36 Bus EQ
***SNARE***
17:56 Polarity
18:35 Gate
19:30 EQ
20:55 Bus Compression
22:14 Bus EQ
23:13 2nd Bus Compression
***OVERHEADS***
25:08 EQ
***TOMS***
26:10 nuthin
26:24 Snare Reverb
***Master Drum Bus***
27:40 Compression
28:56 2nd Drum Bus, Heavy Compression
30:48 in the track
Wow!! Thanks ever so much for doing that!!
@@Producelikeapro And thank you for making the video!
Nice.
This was great
Great for recap
This is the beauty of RUclips. Professionals sharing information that was impossible for someone with no budget. Or who is living in a remote place without access to engineering school like we have here in Nashville etc...
Brilliant channel!
Thank you for sharing all of these, and your interviews.
Thanks ever so much! I’m glad to be able to help in any way I can!
Every minute he does a single alteration on the kick EQ I think "DUDEE ITS GETTING DOPE HOW IS HE GONNA MAKE IT EVEN BETTER???"
Haha thanks ever so much Pedro!
Ever since a friend introduced me to Cubase, I entered the arena of music production and was greeted with a thousand eager RUclipsrs telling me this, and not to do that whilst simultaneously attempting to sell me their wares. Watching your methods made me realise that music production is the one pursuit that teaches me the meaning of the word humility. Thanks so much for your tuition. I like the way you communicate the language and your tutorials form a solid foundation on which to build my mixes.
Just wanted to say a big thank you for all you have done for people like me who are trying to absorb as much as they can. I've been playing drums professionally since I was 19. I'm 46 now and have my own studio for doing drum tracks. Now, I'm wanting to mix other people's songs. It's a passion I didn't know I even had. After watching your videos, it's no wonder why people want to work with you. You have offered so much, you take the time to engage, you have a great attitude, and you are full of talent. A shining example of what it takes to carve out a career. A true inspiration. I cant thank you enough. Here's to many more years of getting to do what you love!
30:01 it's amazing how the processing makes it seem like the tempo is about 5bpm faster than it really is
You know, ppl like Warren n Kenny of Reaper lessons are Gods gift to us,Newbies. Tq so much ,Bros. 🙏🙏🙏
Wow! Thanks ever so much
2022 I'm just now getting around to watching this, and it's amazing. You kept doing things a little bit differently than I've seen done in other videos and done personally but there is no denying the before and after results.
This series is so far the best mixing tutorial I found on YT. Thanks a lot, sir. Cheers!
Wow! And this is where a true mix starts from, just eq and compression and not all these other fancy plugins...i do believe though that fancy plugins have their use, but eq and compression are like the block builders of a beat/song. Amazing job you did here..🔥🐐💯👊🏽
It is always awesome to comeback to these videos. Makes me remember how I got into producing and mixing music! Thanx Warren and EVERYONE at PLP!!! U ROCK!!!
1-2024 7 years before you made this video, many got me started in this. Now I have built my 10x10 Studio, good equipment, learned guitar, Sound design, music Theory, learned some piano, electronic Analog/Digital recording with all Studio One DAW just now starting learning How to mix the Tons of Drums (TT-EZ2. XLN, IKMM 3.5 MAX & BFD3) . ALL SMILES Can NOT Thank YOU Enough 😁
Honest, down-to-earth yet super informative. I really like how you're bopping your head along the tracks. It's really about feeling the beat, isn't it? Warm thanks to you, Warren!
I can't tell you how much I enjoyed following along with this video and mixing drums for the first time. It sounds SO much better and I'm simply amazed. Thank you ever so much!
Wow! Thanks ever so much
Thank you so much Warren for showing us these mixing techniques with mostly stock tools and methods! The final mixing really brought clarity to the drums and the overall song. I get better each few weeks with your help. Stay marvelous!
Followed this video step by step mixing the drums for one of my own tracks. Gave the whole song a lift it needed. Thanks Warren!
Thanks Warren! This is filled with so many great tips.
Does anybody here have good advice for mixing drums when you just have a single mono recording of the drums? My cover band usually plays at my company's annual picnic, but due to social distancing the picnic has been cancelled and so we're going to do some "quarantine videos" instead. My performers don't have good recording equipment, so I'm mostly just pulling audio out of mp4s recorded from their phones. (Constraints breed creativity!) This worked out okay for most, but the drums were particularly tough to mix.
Here's what I ended up doing:
1. Copied the drums into two separate tracks.
2. Aggressively high passed at 3k on one copy of the drums; basically using this one as a proxy for the overheads.
3. High shelved the other copy of the drums, allowing to compress the kick and snare without getting too much cymbal wash.
4. Converting the drum track to midi was only able to identify the snare, not the kick. :( Then did the "Andy Wallace" reverb trick, using the triggered snare just to add reverb to the live snare.
Some techniques to try: EQ automation (so you can enhance a kick drum, snare drum, hihat, etc only when it is being played), layering in samples to get the transient effect and tonality that you want, or at an extreme level, adding in a multi-mic studio recording of the duplicated drum parts (note this can be very difficult)
Why have I never thought of inverting the phase. I literally took physics for two years. I KNOW this stuff and how waves work. 😂😂
Huge difference in the whole drumset! Thanks for sharing! Every step counted as each one was improoving the character of each drum further and further! No waste here. Master.
Thanks Warren for the wonderful video and answering our questions in real time!
Thanks ever so much Darlene!
I basically repeat everything you've shown me over the few years that I've been following you but if not for you, I'd have no idea what I'm doing. I kinda still don't haha but you have been so helpful!
Hi Andrew Arbogast that’s very kind of you my friend!
These videos are pure gold!
I get usually bored by all tutorials but I like your personality so i cant get bored :)
Thanks ever so much
I'm studying audio engineering but I'm learning more from your videos
Hi Ted Josiah aw shucks thanks ever so much my friend! I’m so glad to be able to help!
Great series and now multitracks to play with!
Yes! Download and mix to your hearts content! Haha
That was great. Very helpful to hear you explain what you were hearing and why you made the adjustments that you made and to see and hear the evolution from dull drums to exciting drums. You were right, too, the better drum mix made the rest of the mix sound a little dull.
Thanks ever so much my friend! So glad to be able to help in any way I can!
Another neat trick to boost 60Hz (and only 60Hz) on the kick is to create a channel with an oscillator at (you guessed it) 60Hz. Then you insert a noise gate with a side chain triggered by the kick for opening the gate. That is the cleanest way to boost 60Hz without touching any other frequencies or risking the boost of any unwanted noise in the kick signal.
Just wanted to say thank you. Nothing completely mind blowing for me in this video, some nice tricks and ideas here and there - but in the end it comes down to you, taking all the time explaining it. Thanks for that, thank you for making these videos.
I like how at 19:39 you had eq'd to the resonance and wire buzz, rather than cut it, to add just a bit more character.
Thank you! This is so helpful.
Glad it was helpful!
I really like this series! It;s great to be able to listen to the sounds you are going for on the same speakers that I mix on!
Thanks ever so much! So god to be able to help
I'm probably gonna have to watch this a couple of times to get those tricks right.. Thank's for the knowledge !
Thanks ever so much Edwin! I really appreciate it!!
Beautiful result. The best part for me, is that I was making similar decisions as we were going along.
That's great to hear!!
As a Drummer I would be very happy with your finished result. Thanks very helpful.
Thanks ever so much!! I really appreciate it
@Warren, you're a legend. Thanks for all the tips and interesting doco's
Thanks ever so much Ralph!!
Learned so much from this one! Apart from the great EQ techniques especially the sampling of bass and snare brought the old drumkit in my mix to the next level! Thanks!
Thank you so much Warren! Your videos are amazing! Would be fantastic a "Mixing Basic" for the treatment of VST drums in cases where there are no organic drums in the mix. I guess there are small differences to apply
I love this! I know all of these basic principles but I never know how far to take them.
Hi LukeBass1000 thanks ever so much! I’m glad to be able to help!
Thank you so much for this Warren. I always feel so inspired just watching you mix and listening to your thoughts behind your techniques. Awesome video.
Thanks ever so much!!
You are spoiling us with marvellous stuff, dear. Thank you.
Thanks ever so much my friend!!
This really helped me. Thanks Warren.
Question lots of people use a sample k over an Acoustic kick for punch and body can u make a video getting an acoustic k as close as u can to a sample k with out using a sample k (lets say dance song Bruno mars Vibe) thank u and stay safe
1:41 Boooooo! ; )
Super informative lesson Warren, thank you.
Raging Chimera thanks ever so much!!
Hey Warren I was listening to Dream On earlier and all I could think is wow, I freaking known the guy who recorded this! Great job
I wish that was me! That was Jack Douglas! He is amazing!! Check him out in the channel! I’ve interviewed him lots of times!
warren your just too good. great job" now that's great mixing. the bass drum sounds a whole lot better
Thanks ever so much my friend!!
Super informative! I really picked up a lot of compression fundamentals from this video that I wasn't aware of. I also like the way you are using several eq's on the same track. Really cool to hear the overall difference in the end. Keep the good work Warren!
Amazing tutorial! I’ve watched countless videos of yours and learned so much. I’ve been eyeing looploft for drum samples and wanted to know if you’d recommend it? Many thanks
Thanks for another great video Warren!!
It was wondrous wasn't it?!
You're very welcome Chad!!
@@darlenesheffield9835 Thanks ever so much!!
As always such an amazing artist, thank you for your lesson
You are amazing man, a sound machine. Thanks for all the effort you put into this channel. Cheers from Berlin!
Brilliant. Really amazing work on that kick. Made it so meaty and powerful and clear compared to the starting point.
This is absolutely fantastic. I'm learning so much. Thank you.
Hi Wim De Wild you’re very welcome!!
Any advice for making the snare stand out in the mix without being too harsh and without a sample?
Love this. Always learn something new to try or some tip on why a thing works the way it does! Thanks for sharing so generously!
Thanks ever so much Paul! I really appreciate it!
Great Warren! I love the way you explain..i would like you come in Italy for a mixing or recording workshop
That would be amazing! Fly me over! I love Italy! I was in Rome two weeks ago, beautiful City!
09:00 shouldn’t the “key” button be “on” for the side chain to work for the gate plugin?
This guy is great
Hi Giovanni Mascheroni aw shucks! Thanks ever so much my friend!
This guy's the best.
Thank you, Warren! 😃
Super amazing info as usual. I love how clear you explain this stuff. Very helpful.
Drums are a huge animal, thanks for letting me attempt to grab those reigns. Yeehaw!!
do yall hear the gate on the acoustic snare mics chopping off the transient at 19:10? It sounds like a hard click... like attack is too slow, or it needs look ahead or something. I'm guessing it is because some of the acoustic hits are micro seconds before the sample, so the gate is triggered late. It sounds better when he brings up the sample into the mix like it mostly masks the hard clipped transients of the acoustic mics.
WARREN YOU BEAUTY!
Hi!
At 10:00...Why is your bass drum compressor showing no compression/ gain reduction???
Were you actually compressing?
You were adjusting as if we’re hearing it, I didn’t hear it or see it. Can you explain?
Sean McDonald interesting! I hear it! The transient is super fast! I can exaggerate it for more effect so it’s easier to hear in future videos!
Produce Like A Pro ok. But I’ve never seen a PT compressor compressing WITHOUT seeing the yellow gain reduction meter registering that reduction.
Please check you vid at 10:00.
Plug is not showing any reduction.
That’s where my confusion lies.
Best,
Sean
Hi Sean McDonald yes! I went there, you can hear it and if you look to the right you’ll see that it goes over the threshold, however because it’s so short you don’t see it, although you can hear it. This reminds me a little like the opposite with peak indication showing a red where a transient hits for a nano second although it’s so short it’s inaudible. It’s a reminder that we should always use our ears and not rely on our eyes to tell us what we are hearing. I hope that clarifies?
Hi Warren, depending on what do you decide if processing every kitpiece with EQ > Comp or the opposite Comp > EQ? What are the differences in these two different signal processing?
Thank you so much for all!
Valerio Rizzotti marvellous question! The basic answer is if I’m trying to be aggressive with EQ and maybe bring out some snap on a snare for instance, I will heavily boost high end into a compressor! If I want to be a little more subtle then I might apply some EQ afterwards to remove unwanted low mids or any frequencies I don’t like. That’s a very basic idea of what I do!
Amazing info my friend, just a little thing, that sidechain sample trick you did, you actually forgot to enable the sc input on the gate. I'm sure you got this sorted on the final mix tho. Lots of gems in here as usual.
Hi Diego, thanks ever so much! Yes, I forgot to show that being enabled later on!
Hey Warren, been a fan for some time and not said anything as I recall on your bla bla down here - but I have to thank you brother for your great vids and sharing stuff that takes a lifetime to accumulate. Been in Electro/mechanical engineering all my days and it is rare to find people who pass on knowledge, they would rather make themselves indispensable instead! (Then just die ..) I have a mix of my own to get a crit on - any way to pass it by you Sah?!
Hi Warren, I notice your levels on the left are in a safe place but the tracks have beautiful visible waveforms. I find that my waveforms are tiny and hardly visible despite my signals on the left being between -2 and -10 for instance on the kick drum. When I clip gain I can see the waveforms in a similar way to yours but then I'm totally clipping on levels on the left. I must have missed something basic, can you help me to understand how to zoom in on the waveforms without making the track heights massive so only a handful fit on my screen. Sorry for thr lame question and thanks for all your work.
It’s a great question! Parallel compression on your drums will add energy and also increase overall level. Peaking transients need to be controlled, compression and limiting just shaving them off will allow you to get more level without distortion
A wealth of great knowledge here. Awesome 🎤🥁🎼
Thanks ever so much Ryan!
Great tutorial, thank you so much! But isn‘t it an issue, that the outputs of some plugins are clipping? (e.g. at 22.15)
Dear Warren, I use a kick with no holes and I have a question! , I usually put two mics: one close to the head (47 style) and a ribbon from around 20 cm looking at the kick from a 45 degree angle.
If both mics have a high content of low end, would you advise hi-passing one of them, or instead you would treat them with similar eq?
Thank you for this video, it's very useful.
Hmm I’d have to hear! It’s possible the close mic could have more high end for the attack. However, sometimes the one pulled back is the most accurate sound of the kick
@@Producelikeapro yes, the ribbon makes a beautiful picture of the kick, but it also catches a lot of the snare and some cymbals. Thanks for the comment!
I'm watching the video and I am at the kick drum part. I generally like it! The one thing I don't like is the adding the sample part because I don't have the ability to do that, and I won't for the foreseeable future. Do you have any videos on mixing drums without the sample addition? Thanks. Great stuff!
Amazing video Warren, thank you for all the content you create. I have one question about mixing the kick, did we use the gate here just to get rid of the bleed from other parts of the drum-kit, or is there another purpose here? Thanks!
It's awesome, thank you, Warren, you help me so much!!!
Can't wait to try. Mag job, professor!
Always excellent and priceless advice. Thanks Warren 😁
Would you use Beat Detective before you do any of this? I also just wanted to ask about the polarity: What is the plug in to reverse it? Is it stock in protools?
You can use audiosuite reverse polarity in Pro Tools or simply use the trim plug in and flip it. Also many other plug ins have polarity switches on them as standard
Hi guys, I've a question about phase. Working track by track as Warren does don't I introduce phase issues with OH? I've been using Auto-Align for one week. But I have a question. I'm editing and equalizing my drums track by track because I need to freeze my tracks due to CPU powerless. I should put Auto Align as first plugin and after that equalize but doing so I would reintroduce phase issues, right?. For me it has more sense put it after eq. What do you think?
Hi Giorgio, if you’re using a DAW with delay compensation there shouldn’t be any issues. What DAW do you use? Are you hearing noticeable phase issues?
@@Producelikeapro Thank you for your kind answer Warren. I'm using Cubase
Someone knows if Cubase has automatic delay compensation?
Hello Warren, if you are mixing ITB enviroment and don't have an SSL mix console, do you use ssl E channels plugins for the EQ of every part of the drums kit or it's depends of the color do you want on that (if you want it)?
I cant download the multitracks :(
thank you very much for this video
Hi! Just one comment, for the side chain to work in the Dyn3 Expander Gate you should turn on the the Key botton... I found this information great!
These are awesome! Would love to see this on gospel or urban drums
Curtis Forbes Ghana ever so much! Yes! Will try that soon!!
I really like your style of teaching. Very clear and engaging. Quick question, at which point in the production of a song (e.g., the owl song) do you achieve such a 3D sound to the mixes where it feels like the bass is coming out of everywhere? The vocals sound so full! It is like your ears get a load of perfection. Is it the mixing, the mastering stage, etc? Would love to learn to mix/produce a song to this level.
Thanks ever so much! I have quite a few songs where I mix them live and also there’s a lot of tracking videos! Feel free to dig around and learn, we Kato’s have an Academy if you’re interested
Hi Warren ! After the drum processing is done and drums sound about right ,in most cases the master bus is close to clipping and when the whole song you turn on, the master bus is clipping bad . So you can decrease the level of drum bus or whatever but then drums start to sound weak again - put the limiter on and they start sound not natural - how can you deal with these levels ? I'm watching a lot of mixing videos but everytime I see the final product it sound good but master bus is just red and nobody want to talk about this. At the same time you need to have your mix headroom at -6db or lower for mastering engineer . Is it correct way to just turn down the gain for all master mix till it hits -6 db and then you can start master your song , or there is other technics to have levels right in mixing process? Thank yo!
Nicee! This puts a lot in perspective for me!! One thing I don't understand though is why are you making use of additional kick and snare samples? Is it always recommended? If not, when do you use it and when not? Thanks.
Great tutorial, thank you!
hi warren - how do you trigger the isolated „AD“ kick - how do create this seperated kick-sample put of „AD“? great video and best regards, frank
Commentating so I get a notification if someone answers :D
Marvellous question! I use two different methods of placing samples! Firstly I can just place them one by one by babbling tp transient, or I use Melodyne to capture the MIDI information and then trigger it using Addictive Drums, I hope that helps?
@@floundso7012 See above! I hope it helps clarify?
@@Producelikeapro Thank you so much, that's kind of you to tag me :]
What’s the name of the song in the intro?
When you say 100hz is where the bass guitar sits, what note is that? Is that bottom E, the lowest pitch frequency the bass can occupy? Surely the freq where the bass sits depends on the musical content of the song. Or is 100hz more harmonic content? Cheers Warren
Beautiful.
This is awesome!! Question though - why are you cutting 350htz and same frequencies 3 different times? Don’t you just need once?
What I tried recently was to record a mic out in the bigger room next to my studio. The problem I noticed was that it was making the kick quite "flabby". I tried to line them up but it doesn't seem to be helping. Any advice?
A lot of the flabbiness is the 350hz and the build of multiple mics around 100hz! Otherwise you could try gating the kick so it's a little shorter as well!
are they live drums?
Warren, what do you think about pitching one or the other of the kick drums so that their waveforms match better later in the hit? Surely not a big thing at the lower levels, but might be interesting.
That's definitely a good idea in many situations! Getting the samples close to the original source is a great way to have your drums sound as natural as possible!
Hi Warren, it seems like in addition to proper compression and eq on your live recorded tracks, samples are the key to giving your drums the really fat and punchy sound. If we don't have access to using samples like this, do we just have to do our best with what we have in the dry takes? Or are there things like reverb or something that can fatten it up? Thank you and love your videos.
Would you guys apply those techniques to virtual drums (ez drummer, GarageBand drums, etc)?
That's it, I'm using this as reference. By the way, do you have any video on how to mix drums played with brushes?
AWESOME!THANK YOU