More Equalization Guidelines: Drum Track Processing Tips, Part 6

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On November 27, 2009 · 0 Comments

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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Testimonials From Just a Few of Our Happy Clients:
 

"Hey
Shay, this is Andrew. I just wanted to give you a call
and let you know everything worked out great with your
drum tracks.

And,
actually, the guy who mixed them even asked me who I got
to play on them and I told him about you.

He
said whoever engineered them did a great job recording them.
Just thought you’d like to know."

Andrew Synoweic

 

"Shay
Godwin is an amazing drummer with an instinctual approach
to music rarely encountered today.
Every time I work with him in the studio I’m amazed at how quickly
he locks in, and how great his drum sounds are.
"

Ken Andrews:
songwriter/producer/mixer;
founding member of the groundbreaking group Failure;
producing/mixing credits include: Charlotte Martin,
A Perfect Circle,
Tenacious D,
Chris Cornell,
Nacho Libre Soundtrack,
Pete Yorn,
Jimmy Eat World

 

"Shay
is one of the most talented drummers I’ve ever had the pleasure
of working with. He is a real musician that plays with taste,
incredible feeling, and he is amazingly versatile in his
styles.
"

Charlotte Martin
founder, Dinosaur Fight Records

 

"Shay
is a true professional – He is solid, has great feel and
great tone – One need look no further."

Ty Stevens
Warner/Chappell staff songwriter;
wrote “Rock This World” and was Musical Director for Hillary
Duff (Hollywood Records);
M.D. for Jennifer Pena, Daniel Rene (Univision);
wrote music for Disney, Verve, Universal, artists Mindi Abair;
Musical Consultant for Aly & AJ (Hollywood Records);
guitarist for Mandy Moore, countless other credits

 

"Shay
Godwin is one of the top session drummers I’ve had the pleasure
of working with. He’s a one take wonder, which is great in
the studio because time is money. Shay was extremely professional,
and well prepared. He has killer sounding drums, and was
able to give me all kinds of snare tones to choose from.
We will be working together for many years.
"

Jay Ruston
Producer/Engineer/Mixer, credits include Brian Wilson, The
Donnas, Abandoned Pools, Dianna Ross, American Idol,
Morrissey, Polyphonic Spree, Meatloaf

 

"Shay
has an attention to detail while working on parts in a song
combined with keeping it simple and soulful. His vast knowledge
of musical styles and professionalism in getting the job
done in a timely manner is why I love to work with him.
"

Buck Johnson:
co-wrote the single “Just Feel Better” for Carlos Santana’s
album “All That I Am” featuring Steven Tyler of Aerosmith
;
keys/vocals/guitar with country act Whiskey Falls;
vocalist/keyboardist with the following artists: The Doobie
Brothers (backing vocals on “Rockin’ Down the Highway”-Live
CD-1996), Tal Bachman (backing vocals and Keys of Columbia
Records debut album -’99, Timothy B. Schmit (of The Eagles,
his solo CD 2000-backing vocals and keys), Matthew Sweet
(touring keys and backing vocals and “Best Of Matthew Sweet
CD), Shawn Mullins (touring -2000), and John Waite

 

"Hey
Shay, I wanted to say thanks again & great job in the studio
sessions for the BFD XFL. You really did a top job covering
the various brush strokes, and a lot of composers have told
me they’ve been featured in many TV shows and movies! All
the best!
"

Steve Duda:
creator of the BFD Premium Drum Module, credits include:
Nine Inch Nails – Fragile – Percussion, Violin, Programming,
Choir, Chorus;
Pitchshifter – Deviant – Programming, Editing;
Pitchshifter – Bootlegged Distorted Remixed Uploaded – Producer;
Rob Zombie – American Made Music to Strip By – Remix;
Methods of Mayhem – Methods of Mayhem – Programming; A Perfect
Circle – Thirteenth Step – Digital Engineer

 
 

"I
tried some other online drummers, you are by far the best.
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Luke, Germany

 

"Your
process is great. The three takes is a perfect way to make
sure it works. Your tracks sound great. I was very happy
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You and Thai Long were awesome. Your professionalism and enthusiasm,
not to mention skill at your craft made this perfect.
"

Craig Campbell, Detroit, USA

 

"I
was totally blown away by the quality of the recording. By
comparison with other drum recordings I have heard (some
of them by other online drum recording services), your unprocessed
tracks are close to the processed tracks I have heard!
Your drumming during the chorus clearly sets it aside in terms
of energy from the verse parts, something that I find important.
Your playing supports the song and even inspires me with ideas
to improve it. Upright Bass, anyone?
"

Henrique Pataca, Portugal

 

"Shay,
just a quick email to let you know that I’m very happy with
the drums tracks! They’re well recorded and the performances
are great! A pleasure to mix! More to come for you soon.
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Gyom, Alexandria, Virginia, USA

 

"Nice
fills and some cool grooves dude! Exactly what I was looking
for!!! All three takes sound great. I think my favourite
is track 2 but I might incorporate some bits of the other
takes into it as well.
"

Ramon McDrury, Sydney, Australia

 

"Hi
Shay, the takes are perfect, exactly what I was after and
played with real passion, thanks so much!
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Owen Duff, London, UK

 

"I
can’t decide which version I like best, all three are great.
I think take 3 is again most powerful, straight but still
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driving bass and drums carrying the song but played intelligent.
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Luke, Germany

 

"Shay!
You nailed it! Great work. You were right. I have ‘inevitable
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I just wanted to thank you both for spending the extra time to
nail down these tracks. You really nailed these tracks and inspire
me with your playing. I’m really honored to have you guys work
on this stuff and grateful.
"

Timothy Gillespie, New Jersey, USA

 

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