More Equalization Guidelines: Drum Track Processing Tips, Part 6
More Equalization Guidelines: Drum Track Processing Tips, Part 6 by Thai Long Ly
This is part six of my overview series on the processing drum tracks. Here we will focus on equalization of overheads, toms, hi-hats, and rooms.
First let us discuss overheads. Where do I begin? Applying EQ to an overhead track depends entirely upon the artistic approach you’re employing for your song and their respective drum tracks (I suppose this is true for anything, but stay with me here). If you want the overheads to function purely as cymbal mics, then you will want to roll out most of the bottom end using a Hi Pass Filter.
Dump everything below approximately 500Hz and sneak the track up in level so that the cymbals sit in a proper place (with the drum tracks and the song in general) when struck. You might boost above 12kHz for some “air” as well.
If you want the overheads to convey location of the individual elements of a kit in a realistic way (as well as to capture the kit overall), a fairly broad cut centered around 400Hz-500Hz should pull some honk out of the kit to make room for the rest of the drum tracks and other instruments. Again, some lifting above 10 or 12kHz is nice to bring out some presence and sparkle. Dip down towards 7kHz for more snap out of your snare drum track.
Now let’s discuss toms. “Lamb Of God”-type toms? Kill the bloom and resonance (below 250Hz) and accentuate the stick hit and attack (1kHz – 4kHz) of the tom drum tracks. How about a Modern R&B project? Bring up the resonance of the shell and let them ring. Find the resonant frequency and boost until they’re howling. Now fit that in with the overheads and listen to how the drum tracks sound in relation to the song. What seems like overkill when soloed now feels right when the rest of the track is playing. Always take that into consideration regarding your drum tracks.
How about hi-hats? Dump everything below 500Hz unless you want the sound of the session drummer’s foot thumping away. Adding air above 10kHz can be helpful. Just don’t overdo it or you may end up with overly sizzly sounding hats. That sounds terrible, and can ruin your drum tracks (thusly your song).
Now lets address rooms. Just mangle the snot out of these. Or don’t. Filter them. Effect them. Or don’t. Make ‘em dull. Or don’t. Make ‘em bright. Or don’t. See where I’m going with this? Good. Use your ears to decide what is best for your drum tracks.
So there you have it. A basic set of concepts to get you up and rolling towards amazing sounding drum tracks. And as if it hasn’t sunk in by now… experiment! Find your own voice and signature sound when mixing drum tracks. Copying someone else’s sound is cool for educational purposes, but ultimately what will set your project apart from the pack is what you discover on your own. Remember, the drum sounds you create in a mix will affect the overall power and presence of your recording. What sets a demo apart from a master-quality recording? Drum sounds. Good luck processing your drum tracks, and enjoy.
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