I would just like to add my voice to the chorus of fans asking for more content like this - the old videos you did like "How the Pros use EQ" and "How the Pros use Compression" remain saved go-to videos for me to the point where I often have them open in another window while I'm working on a mix. I think all your content is fantastic and understand completely that you need to take your market into account, but for the subset of your subscribers who are burgeoning engineers or producers this stuff is pure gold - thank you for making it and sharing your knowledge with us free of charge, I appreciate it.
Love all the content on both channels but THIS is what I have been missing!! Really miss all the videos you used to do with mixing, compression, EQ, etc.. The production stuff. I bought all the Beato material available and would love to see some production and mixing material offered up in the future. Keep Rockin!!!
I third it. 😊 ...because you explain it in a way that I can do it, without needing to see, in regards to where each thing sits in the recording, as well as mic placements.
Rick, your interviews have been really great, and I hope you keep doing them. But I also hope you can find time to keep sharing awesome production/engineering lessons like this. You're such a natural teacher, it's a pleasure to support your work.
Snare is awesome! The player. The room and the drum tuning are the biggest factors. People don't talk about the player enough Also why samples are used 95% of time. God forbid your drums sound different than the radio for once. Lol. Dude def knows how to record a kit. And it's not easy. Ssoooo many factors to worry about. Awesome advice!! Thank you!
Mixbus is the first thing to try for self-recording drummers. You can select all your tracks and ‘optimize polarity’ which checks every combo of phase on all channels and gets you the ideal output. Total game changer! No guessing.
Please do more content like this! Love watching people who know their stuff do mixing in real time while explaining to us mere mortals what it is they’re doing. Great stuff!
This video shows how important it is to get the source sounding good as the first priority. Your instincts as to what to add is, of course, spot on, and in 10 minutes you had a super professional sound. Thanks !
one thing I struggle is to have the snare mic without hi-hat bleeding. Your top snare track is very well recorded in that sense. I've tried so many techniques and plugins to get that right but nothing compares to a well recorded sound like this!
I used to have the same issue with a drummer who didn’t have great technique. He hit the high hat harder than the snare. I built a little baffle out of cardboard and carpet foam (maybe 8” x 5-6”?) with a hole in the middle just a tad smaller than my snare mic diameter. I slip it over the snare mic above the mic clip. Reduces the amount of HH bleed to the capsule facing the snare. My favorite technique now though is to use electronic drums (direct) and acoustic cymbals (mic’d). No bleed anywhere! Max control of individual tracks.
17:57 This. When people think of big drum sounds, especially bass drums, most people think of John Bonham, but my mind always jumps to Bike by Pink Floyd with the two massive reverby bass drum hits that lead into each verse. It reminds me of some sort of Vaudeville or circus act on acid, and just makes for an amazingly perfect way to lead back into those sections of the song that just would not work without the reverb. I just drove two and a half hours a few weeks back to get a '73 26 x 10 Ludwig marching bass drum that was converted into a kick, and it sounds just like that song when you whack the hell out of it!
i feel like it should be noted that the drums are also well tuned and well performed. the playing is balanced. and the mic technique sounds good as well. I would argue these are more important than any plugins. So with these bases covered, it makes sense all you’d need is a lil compression, a sample, and a reverb if needed.
@tort. Exactly. Great sounding raw drums are easily fattened up and made big sounding fairly easily with compression and reverb / room mics. Getting really good raw tracks is the far more difficult task. A not so great drummer, poor quality drums and cymbals, poor tuning and muting, and a bad room can make for tracks that simply can't be made to sound great without basically just replacing the whole mess with samples.
I think some of the best drum sounds came before a lot of the technology. Moving a mic away from the drum head will naturally compress the sound, and adding two condenser mics.... one near and another far across the room can do wonderful things in a stereo mix. Joe Morello had some great drum sounds working with Brubeck for example. A good room is one thing... knowing how to utilize a good room is another. I'm on the side of "the more natural they sound the better". That being said, in the virtual age, everyone wants great sounds without great rooms or even great mics. That's understandable, but doing things the right way is still best. Thanks for your great content as always Rick! It's wonderful!
I was actually really stoked on the natural recorded drum sound without all the plugins. But simply masterful, simple tools and solutions here. I love it.
Really don't mean to be ageist (I'm an oldster too) but that thing with swapping a pretty well recorded snare and/or kick out for a sample is such an 80's & 90's move. Can't tell you how many mix sessions I was in where that was the default. Spend all this time getting just the right snare sound only to use it as a glorified trigger. Yea, I know you're just mixing them together but nah. I understand if the recording has problems but if you have a pretty good snare or kick, my vote 99% of the time is work with it. There's sooo much you can do. I find something gets lost when I start threading in stock samples into otherwise non-electronic music, There's a life-sucking pasteurization that happens with sample swaps.
I kind of agree, but it's all in *how* it's used. At the end of the day, there's nothing "natural" about transient shaping a drum hit, running it through EQ, compression and saturation and so on, either. So if the sample replacement is done tastefully, say just to add a bit of thump under a kick that wasn't recorded as well as initially thought, I don't see how it's that much different than spending a bunch of time processing the kick to give it thump it didn't have by other means. But I know what you mean. Lots of people sample replace and grid-align like crazy to the point that it sounds like a drum machine, and I definitely don't like that sound for rock music.
Rick, this is exactly the kind of content I've been looking for. I've been recording drums in a small room experimenting with double mic'ing and stereo room techniques. Now I'll have some things to try in order to make the drums sounds bigger. Thank you. Also, nice beard.
We need you for this Rick! I’ve watched so many RUclips videos on this but this is the best! Not sure why, but it makes such good sense, plus I get to see the decisions made in real time which is fantastic for learning
Great sounding drums without doing anything to them! Would be great if you could show how you tracked them and the gear you used to get them to sound so good! Thank you!
One thing that is nice to do with Superior is to trig kick, snare and toms, but only use the room micks in Superior. It give more resonance and tone of real drums then a room reverb 🙂
This is gold. I'm using EZ Drummer in my compositions but I currently have all tracks going through a LA-2A plug-in. I should try not compressing the cymbals and see I can hear a difference. I really liked what the supplemental snare did as well as the verb on the snare+kick
yea I really preferred the more raw sound, especially with a bit of the room mics... the additional stuff he did made things a bit too squashed, but maybe that's what the full mix needs, I dunno
Something you learn with experience is that life is much easier if you record the instruments how they will sound in the final product. If done right you could record a whole song with no mixing and editing other than track levels.
@@jpob5 yeah! It's incredible how talented people can record drums that already sound produced and mixed. I remember someone saying: "record like there's no mixing and mix like there's no mastering"
i remember the first video i ever watched from you, back in 2016. You lined up a bunch of my favorite songs, and pointed out how the snares all sounded basically the same because they all had the same sample replacement/treatment. Eye opening and just awesome. I was a fan right away. I still am. Thanks Rick!
If you see this, Rick. Love the structure of this second channel. Awesome quotes and highlights from the longer form interviews I dont always get to watch plus epic production content. Thanks! 🎉
All right. but I would have liked to listen and compare the plug-ins in the context of the song. For me, adjusting the sound of any instrument solo makes no sense. in addition this drum recording and I find it excellent. Et merci Rick de partager avec nous. Bravo
Agreed. Once he unmutes the rest of the instruments, all the drum tracks have to be readjusted all over again so the frequencies stand out and aren’t fighting for space.
Rick, I love your educational content. I've been watching you since your early advanced theory concept videos. You're a wealth of knowledge as well as entertaining while staying classy, but relaxed. Thanks!
Rick ive been watching sonce the end of 2016 the first video i saw of you was breaking down andy wallace mixing style...now that youve announced brendan o brian i would love to see you interview andy wallace he is my favorite engineer
Silencer by BlackSalt Audio is a great gate. Doesn't kill too much, and is easy to use, super consistent too. You can sidechain it and clip gain stuff up or down if there are a few hits that are out of range. This combined with good ambience whether from verbs (on recorded tracks or on samples), shell ambient samples, regular samples, compr and parallel compr, clipping, drum/shell bus parallel compr, etc makes driving drums
My mentor showed me to send the kick to the drum reverb, but send it through a high passed bus. Works pretty well, if you don’t want to make another reverb.
For Fake room also i use a mix of the drum and printed into an stereo track and insert the great Ocean Way Studios from UAD or the DVERB Room algorith in full wet, sometimes with the help for rock sounds of the Sountoys Devil Loc
Thank you very much Rick for this and all of your wonderful videos. I really like the fact that everything you do is for the love of music first trying to bring out the best in all of us so that we may all become better at our craft some day. Again from the bottem of my heart I thank you for all that you do.
Great video! We need more. I would really like to see this again but with how to use the actual room mics. I’ve recently gotten a session with room mics and I’m not so sure how to make the best use of them.
Love this kind of content Rick, really helpful for budding producers and musicians...As a lonely analogue dinosaur tracking to tape without computer stuff, some tips on conventional EQ and compression settings for the individual drums (especially bass drum) would be really cool!
Loving the content! Just wondering, how come that in the close rooms, the snare drum sounds panned to the right, and the kick panned to the left? 🤔 1:44
Of course 70% of mixing drums is having already recorded them properly and having (at least for me) a GREAT room mic sound (personally I have a booth, so I mic the room next to it and it sounds huge with compression) and then broad strokes of EQ and Compress to taste, I love the Waves Omni Channel for that.
i usually mult snare and kick and sometimes toms to separate tracks or auxes and parallell compress that, combine with original tracks and route to drumbus with some transient control. also do tiny amount of mixbuss comp for ”glue”.
This is great! Drums didn't need much tho TBH. Great sounding takes. Would love to see one like this but for tracking the kit on a budget. Just plugins and 57s or something of the like
Ok. I’m not bragging. But I literally predicted just about everything Rick did before he did it. I missed a few things that I will try. I missed how he grouped the drums - I often leave the kick out of the drum group and put overheads in. Also I haven’t used triggers that much, although I know it’s popular. I don’t usually like superior drummer because the drums sound too perfect. But blending it like this is a cool trick. The one thing he didn’t do that I would have, is eq out a little of the ring in the snare. But I predicted almost all the comps and all the moves he made with the exception of some of the older plugs. Maybe I am bragging. But I’m proud of myself!!!! I think I would have ended up with a drum track that sounded a lot like Rick’s end product. If I started with the killer tracks that he did of course….😊
Another great video Rick. What do you think of doing a video on the top 10 flams! I'm a drummer and I love the flam. I was just listening to Fooled Around and Fell In Love. Great flams! Also pretty much anything by Copeland.
Been obsessed with this sort of thing for the last couple years so of course I love this. I have a request to any of the musicians & engineers on here. I still like using Pro Tools 8 on a Dell Tower with XP operating system. Could somebody give me information on where I could get more plug-ins for this setup. I'll occasionally rent Pro Tools 12 but just for financial reasons I like using Pro Tools 8 for me it works fine as far as sound quality.
Yes, the key to good recording of all instruments is getting the best possible sound at the source (with the best possible mics, cables, and interface/preamp - not recording junk and spending hours in post production trying to artificially correct the deficiencies.
I would just like to add my voice to the chorus of fans asking for more content like this - the old videos you did like "How the Pros use EQ" and "How the Pros use Compression" remain saved go-to videos for me to the point where I often have them open in another window while I'm working on a mix. I think all your content is fantastic and understand completely that you need to take your market into account, but for the subset of your subscribers who are burgeoning engineers or producers this stuff is pure gold - thank you for making it and sharing your knowledge with us free of charge, I appreciate it.
Love all the content on both channels but THIS is what I have been missing!! Really miss all the videos you used to do with mixing, compression, EQ, etc.. The production stuff. I bought all the Beato material available and would love to see some production and mixing material offered up in the future. Keep Rockin!!!
I second this!!
I third it. 😊 ...because you explain it in a way that I can do it, without needing to see, in regards to where each thing sits in the recording, as well as mic placements.
Fourth!
100% this. I love this content too.
5th it!!
Rick, your interviews have been really great, and I hope you keep doing them. But I also hope you can find time to keep sharing awesome production/engineering lessons like this. You're such a natural teacher, it's a pleasure to support your work.
Rick ....please more of this kind of content, your approach is so clear.....no hype, walk through clearly & to the point......love it !!!
Snare is awesome! The player. The room and the drum tuning are the biggest factors. People don't talk about the player enough Also why samples are used 95% of time. God forbid your drums sound different than the radio for once. Lol. Dude def knows how to record a kit. And it's not easy. Ssoooo many factors to worry about. Awesome advice!! Thank you!
Completely blown away by the Master X HD plugin...I don't know if it was just a volume increase, but I was impressed.
We need more of these types of videos. As much as we appreciate the interviews, this is equally invaluable.
Damn, those drums sound fantastic right off the bat!! Amazingly well recorded.
I agree 100%, I would even argue that the drums didn't need the sample. It took some of the magic of that black beauty away. Just my opinion.
Mixbus is the first thing to try for self-recording drummers. You can select all your tracks and ‘optimize polarity’ which checks every combo of phase on all channels and gets you the ideal output. Total game changer! No guessing.
Please do more content like this! Love watching people who know their stuff do mixing in real time while explaining to us mere mortals what it is they’re doing. Great stuff!
This video shows how important it is to get the source sounding good as the first priority. Your instincts as to what to add is, of course, spot on, and in 10 minutes you had a super professional sound. Thanks !
one thing I struggle is to have the snare mic without hi-hat bleeding. Your top snare track is very well recorded in that sense. I've tried so many techniques and plugins to get that right but nothing compares to a well recorded sound like this!
I used to have the same issue with a drummer who didn’t have great technique. He hit the high hat harder than the snare. I built a little baffle out of cardboard and carpet foam (maybe 8” x 5-6”?) with a hole in the middle just a tad smaller than my snare mic diameter. I slip it over the snare mic above the mic clip. Reduces the amount of HH bleed to the capsule facing the snare. My favorite technique now though is to use electronic drums (direct) and acoustic cymbals (mic’d). No bleed anywhere! Max control of individual tracks.
Great video. The real takeaway and #1 lesson though is record your source sounds well.
yea the kick especially was very nice, mine always sounds like turds dropping
And always check phase polarity or you are losing signal.
17:57 This. When people think of big drum sounds, especially bass drums, most people think of John Bonham, but my mind always jumps to Bike by Pink Floyd with the two massive reverby bass drum hits that lead into each verse. It reminds me of some sort of Vaudeville or circus act on acid, and just makes for an amazingly perfect way to lead back into those sections of the song that just would not work without the reverb. I just drove two and a half hours a few weeks back to get a '73 26 x 10 Ludwig marching bass drum that was converted into a kick, and it sounds just like that song when you whack the hell out of it!
i feel like it should be noted that the drums are also well tuned and well performed. the playing is balanced. and the mic technique sounds good as well. I would argue these are more important than any plugins. So with these bases covered, it makes sense all you’d need is a lil compression, a sample, and a reverb if needed.
@tort. Exactly. Great sounding raw drums are easily fattened up and made big sounding fairly easily with compression and reverb / room mics.
Getting really good raw tracks is the far more difficult task. A not so great drummer, poor quality drums and cymbals, poor tuning and muting, and a bad room can make for tracks that simply can't be made to sound great without basically just replacing the whole mess with samples.
I think some of the best drum sounds came before a lot of the technology. Moving a mic away from the drum head will naturally compress the sound, and adding two condenser mics.... one near and another far across the room can do wonderful things in a stereo mix.
Joe Morello had some great drum sounds working with Brubeck for example. A good room is one thing... knowing how to utilize a good room is another. I'm on the side of "the more natural they sound the better". That being said, in the virtual age, everyone wants great sounds without great rooms or even great mics. That's understandable, but doing things the right way is still best.
Thanks for your great content as always Rick! It's wonderful!
I was actually really stoked on the natural recorded drum sound without all the plugins.
But simply masterful, simple tools and solutions here. I love it.
I like what you did by using superior drummer to add in room ambience/reverb
Ivo!! I'm glad to see you here!!
Really don't mean to be ageist (I'm an oldster too) but that thing with swapping a pretty well recorded snare and/or kick out for a sample is such an 80's & 90's move. Can't tell you how many mix sessions I was in where that was the default. Spend all this time getting just the right snare sound only to use it as a glorified trigger. Yea, I know you're just mixing them together but nah.
I understand if the recording has problems but if you have a pretty good snare or kick, my vote 99% of the time is work with it. There's sooo much you can do. I find something gets lost when I start threading in stock samples into otherwise non-electronic music, There's a life-sucking pasteurization that happens with sample swaps.
I kind of agree, but it's all in *how* it's used. At the end of the day, there's nothing "natural" about transient shaping a drum hit, running it through EQ, compression and saturation and so on, either. So if the sample replacement is done tastefully, say just to add a bit of thump under a kick that wasn't recorded as well as initially thought, I don't see how it's that much different than spending a bunch of time processing the kick to give it thump it didn't have by other means.
But I know what you mean. Lots of people sample replace and grid-align like crazy to the point that it sounds like a drum machine, and I definitely don't like that sound for rock music.
As usual, a video totally crammed with useful information. What would we musicians do without you? Seriously. Thank you for everything, always!
As soon as you added the reverb 15:55 I heard: Kick em when they're up, kick when they're down... "Dirty Laundry". Sing along. Sick drum mix Rick!
Rick, this is exactly the kind of content I've been looking for. I've been recording drums in a small room experimenting with double mic'ing and stereo room techniques. Now I'll have some things to try in order to make the drums sounds bigger. Thank you. Also, nice beard.
We need you for this Rick! I’ve watched so many RUclips videos on this but this is the best! Not sure why, but it makes such good sense, plus I get to see the decisions made in real time which is fantastic for learning
That kick sounded amazing in those room mics! Very well placed, they beef up and glue the whole kit.
Love this! As an ableton user , watching people use protools I’m like … man why haha
Mainly talking about navigating plug-ins and the grouping of tracks…
ProTools is still great if you got like 32 channels of input and don't use much MIDI
Great sounding drums without doing anything to them! Would be great if you could show how you tracked them and the gear you used to get them to sound so good! Thank you!
I’ll just join the crowd in letting Rick know we love ALL of his content… but please more of these tutorials!!
One thing that is nice to do with Superior is to trig kick, snare and toms, but only use the room micks in Superior. It give more resonance and tone of real drums then a room reverb 🙂
Master X HD is amazing, I don't know why but preset 40 and then mess with the threshold and it adds a little something that I really love.
This is gold. I'm using EZ Drummer in my compositions but I currently have all tracks going through a LA-2A plug-in. I should try not compressing the cymbals and see I can hear a difference. I really liked what the supplemental snare did as well as the verb on the snare+kick
Opto compressors on drums are quite unusual
When Rick presses play and his raw drum tracks sound better than my fully mixed and edited drums! 😂😢
Exactly what I was gonna write!!
yea I really preferred the more raw sound, especially with a bit of the room mics... the additional stuff he did made things a bit too squashed, but maybe that's what the full mix needs, I dunno
Something you learn with experience is that life is much easier if you record the instruments how they will sound in the final product. If done right you could record a whole song with no mixing and editing other than track levels.
@@jpob5 yeah! It's incredible how talented people can record drums that already sound produced and mixed. I remember someone saying: "record like there's no mixing and mix like there's no mastering"
He's got a much more extensive setup and has had for a long time.
I find your mixing tricks very interesting. I'd love to hear more. Thank you very much!
another trick is only using the sampled snare for sending to the reverb, so you retain the original transient but can customize the tail end
I mean you never heard the dry sampled snare, btw... it saves you from things sounding like 2 separate snares at the same time
LOVED this.
LOVE these types of tutorials, please keep them coming
Wow!. The possibilities are Endless... Awesome vid! Makes me miss recording...
i remember the first video i ever watched from you, back in 2016. You lined up a bunch of my favorite songs, and pointed out how the snares all sounded basically the same
because they all had the same sample replacement/treatment. Eye opening and just awesome. I was a fan right away. I still am. Thanks Rick!
Thank you for that.... more like this please
If you see this, Rick. Love the structure of this second channel. Awesome quotes and highlights from the longer form interviews I dont always get to watch plus epic production content. Thanks! 🎉
All right. but I would have liked to listen and compare the plug-ins in the context of the song. For me, adjusting the sound of any instrument solo makes no sense. in addition this drum recording and I find it excellent. Et merci Rick de partager avec nous. Bravo
Agreed. Once he unmutes the rest of the instruments, all the drum tracks have to be readjusted all over again so the frequencies stand out and aren’t fighting for space.
Rick, I love your educational content. I've been watching you since your early advanced theory concept videos. You're a wealth of knowledge as well as entertaining while staying classy, but relaxed. Thanks!
I LOVE using superior as either a snare replacement or for triggering!
Next video: How to record drumms really well so you don't need EQ
Needed ✌️
You gotta love this second channel ! Thanks Rick you are the Mr beast of RnR
Rick ive been watching sonce the end of 2016 the first video i saw of you was breaking down andy wallace mixing style...now that youve announced brendan o brian i would love to see you interview andy wallace he is my favorite engineer
Silencer by BlackSalt Audio is a great gate. Doesn't kill too much, and is easy to use, super consistent too. You can sidechain it and clip gain stuff up or down if there are a few hits that are out of range. This combined with good ambience whether from verbs (on recorded tracks or on samples), shell ambient samples, regular samples, compr and parallel compr, clipping, drum/shell bus parallel compr, etc makes driving drums
My mentor showed me to send the kick to the drum reverb, but send it through a high passed bus. Works pretty well, if you don’t want to make another reverb.
For Fake room also i use a mix of the drum and printed into an stereo track and insert the great Ocean Way Studios from UAD or the DVERB Room algorith in full wet, sometimes with the help for rock sounds of the Sountoys Devil Loc
I love your teaching Sir, your skills and well illustrated. Thank you ❤
Great content! I would love to see you provide the entire process from song writing, to recording, mixing, and mastering!
Thank you very much Rick for this and all of your wonderful videos. I really like the fact that everything you do is for the love of music first trying to bring out the best in all of us so that we may all become better at our craft some day. Again from the bottem of my heart I thank you for all that you do.
Great video! We need more. I would really like to see this again but with how to use the actual room mics. I’ve recently gotten a session with room mics and I’m not so sure how to make the best use of them.
Rick, you can do everything! More mixing, please!
The title of this video is amazing 😂. Love ya Rick, I learn something every time I watch your videos
I LOVE the fact that you have spare NS-10s for precise monitoring of what you do with your gear on the right :) :P .Nice
Love everything you're doing. Thank you for what you bring to the inter-web
Rick, I swear if you create a third channel of mixing and mastering production tips just like this you'll pretty much run youtube. Great content sir!
I love this kind of video! Helps me get better at recording and mixing.
It always surprised me how little mixing / processing things need when they're recorded properly. Killer sounds 👌
Nice one Rick - everything you were doing was exactly what I would do and what you were hearing is what I was hearing - I was saying 'yeah!" a lot lol
Good shout out to subscribe! I missed all the production tips from you in my feed, that’s why!
Sounds great straight away !
Love this kind of content Rick, really helpful for budding producers and musicians...As a lonely analogue dinosaur tracking to tape without computer stuff, some tips on conventional EQ and compression settings for the individual drums (especially bass drum) would be really cool!
Great lesson Rick! People like to over process the drums a lot nowadays. Sometimes less is more.
Can't wait for you to make a mixing and mastering course.
I use the UAD Neve 33609 compressor on my drum sub, which I call “drum squeeze”😊
BAE= Beato Audio Engineering...Your music production vids are some of my favorites right up there with the interviews
So step one of getting a good drum sound is "get amazingly engineered tracks played in a great room". I'd guess most people fail that step one.
Glad to see Rick also gets overwhelmed by his plugin list and picks one based on vibes.
Thanks Rick! when you have time... More of this anytime!
great ad for superior drummer
Loving the content! Just wondering, how come that in the close rooms, the snare drum sounds panned to the right, and the kick panned to the left? 🤔 1:44
Of course 70% of mixing drums is having already recorded them properly and having (at least for me) a GREAT room mic sound (personally I have a booth, so I mic the room next to it and it sounds huge with compression) and then broad strokes of EQ and Compress to taste, I love the Waves Omni Channel for that.
i usually mult snare and kick and sometimes toms to separate tracks or auxes and parallell compress that, combine with original tracks and route to drumbus with some transient control. also do tiny amount of mixbuss comp for ”glue”.
live foh too. works wonders if you ride the faders and listen!
Out of the gate I’d be happy with those basic tracks ❤
GREAT TO WATCH YOU WORK!
Please do some more of these mix tutorials for different instruments I’d love to see it
Just what I wanted to learn more about. Thanks! Can you show how you've actually mic'd and recorded the drums?
Beard is looking great Rick.
This is great! Drums didn't need much tho TBH. Great sounding takes. Would love to see one like this but for tracking the kit on a budget. Just plugins and 57s or something of the like
Ok. I’m not bragging. But I literally predicted just about everything Rick did before he did it. I missed a few things that I will try. I missed how he grouped the drums - I often leave the kick out of the drum group and put overheads in. Also I haven’t used triggers that much, although I know it’s popular. I don’t usually like superior drummer because the drums sound too perfect. But blending it like this is a cool trick. The one thing he didn’t do that I would have, is eq out a little of the ring in the snare. But I predicted almost all the comps and all the moves he made with the exception of some of the older plugs. Maybe I am bragging. But I’m proud of myself!!!! I think I would have ended up with a drum track that sounded a lot like Rick’s end product. If I started with the killer tracks that he did of course….😊
great content, insight, and techniques for mixing drums very useful
This is awesome! More “producer Rick” please!
Thanks Rick!
Love your teaching videos.
Put the gate before the comp on the snare Rick!
It’s awesome watching a master in his craft
So great to see this process
I liked these as well, almost as much as the whiteboards. 🙂
Great demonstration. Love this kind of stuff... That snare sound great without the sample.. l would just reverb it on it own
Love it🤘🤘
Thank you, Rick
Another great video Rick.
What do you think of doing a video on the top 10 flams! I'm a drummer and I love the flam. I was just listening to Fooled Around and Fell In Love. Great flams! Also pretty much anything by Copeland.
Ah you don’t need to mix it when you use all those 1073s behind you .😮
Sweet studio!
Been obsessed with this sort of thing for the last couple years so of course I love this. I have a request to any of the musicians & engineers on here. I still like using Pro Tools 8 on a Dell Tower with XP operating system. Could somebody give me information on where I could get more plug-ins for this setup. I'll occasionally rent Pro Tools 12 but just for financial reasons I like using Pro Tools 8 for me it works fine as far as sound quality.
Anyone else take a snapshot of Rick's plug-ins?? lol. Rick, we need more of these type of your videos!! 🙂
The biggest secret is revealed at the end: "I recorded really well to begin with ..... " !!
Off the bat without the plug ins the drums already sound better than I could ever make a drum track sound with all the plug ins in the world!
Yes, the key to good recording of all instruments is getting the best possible sound at the source (with the best possible mics, cables, and interface/preamp - not recording junk and spending hours in post production trying to artificially correct the deficiencies.
This is amazing, thank you!
Great stuff! Thanks Rick!
Can you put the stems up for download please
I like Rick the mixer ❤