Drum Track Processing, Part 5: Equalization Guidelines
Drum Track Processing Tips, Part 5: Equalization Guidelines by Thai Long Ly
Writing about equalization of drum tracks (or any tracks) is a tough subject. It’s sort of like smoking about bath water. Generally speaking, subtractive EQ is better than boosting, but really, anything goes. I tend to favor hardware over software, but often times a plug-in allows more surgical moves so I’ll utilize them with drum tracks when necessary. Here are some concepts that I tend to think about when I approach a mix.
KICK DRUM and BASS GUITAR. Here you must decide where each element will live. Will the bass carry the low end information while the kick drum track provides the punch or will the deep impact of the kick dominate the lows while the bass sits right on top? There are no rules, but I tend to let the tempo and busy-ness of the bass line dictate who lives where. If you have a down tempo number with a fairly slow bass line, it may be nice to have the bass carry the bottom octaves while the kick drum track smacks you in the chest. Conversely, if you have a busy 16th note bass line on a fusion track, the kick may want to live in the basement while the bass surfs the stairs. This is usually my first critical decision when I start a mix and it will set up the way I address the rest of the tracks beyond the drum tracks.
SNARE and VOCAL. How do you get a snare drum track to “crack” with punch and clarity without stepping all over the lead vocal? You either have the snare sit above or below the frequency of the vocal. In a lot of modern R&B tracks, you’ll find that the snare drum track sits above the lead vocal, with a lot of the bottom end pulled out. The snare takes on more of a “snap” than a “whack” type quality. This leaves a lot of room for the dozens and dozens of vocal tracks that are the norm for this style of music while still providing a solid backbeat. A lot of Rock and Pop settings will have the snare EQ’d slightly below the vocal so that the voice is the brightest thing you hear besides cymbals. This allows the snare drum track to really “smack” like it would if you were sitting next to it. In this type of situation, I tend to boost anywhere from 100Hz to 250Hz in subtle amounts to give the snare some “weight” and “slam”. Remember, a properly tuned snare will be quite throaty sounding in a good room. The snare drum track should have some low end. Again, there are no rules, just things to think about as you’re searching for sonic bliss. Often times, a good ol’ fashioned notch around 300Hz – 400Hz will remove the honk and boxiness of a snare (or any drum track, for that matter) so experiment there. Also, boosting in the 3.5kHz – 4.5kHz range can do wonders for finding the right amount of “crack” and presence for your snare drum track.
Go ahead and experiment with these concepts, and be sure to read my other articles on this site. Part six will further address equalization of drum tracks and will focus on overheads, toms, hi-hats, and room.
Related posts:
- Drum Track Processing Tips, Part 6: More Equalization Guidelines
- Drum Track Processing Tips, Part 2: Compression
- Drum Track Processing Tips, Part 3: Parallel Compression
- Drum Track Processing, Part 1: Gating
- Drum Track Processing Tips, Part 4: Ambience by Thai Long Ly