Just like last time, we'll use a ratio of ∞:1 to apply 10db to 20 dB of gain reduction and blend it in to taste. Release times should be set to the tempo of the track, with faster times adding more "punch" and slower times adding more sustain.įinally, for a little extra "oomph," lets send the snare channels to a dbx-160 for some parallel compression. Slower attack times allow more impact, while faster attack times can help tighten up a performance. We're aiming for 3dB to 6 dB of gain reduction at a ratio around 4:1. Next, we used the compressor to help control the dynamics of the snare and add a little snap while we're at it. If you're still not getting the attack you want from the snare, try a gentle boost with a bell around 3kHz to 5kHz. To bring out the snap and "sizzle" of the snare, try a generous boost using a shelf around 10kHz.
Next, let's scoop out some of the midrange with a hefty cut around 500Hz. Rock snares tend to have a meaty bottom-end, so apply a moderate boost to the low-mids using a bell. To dial-in the timbre of the snare using the EQ section, we started by rolling off any unnecessary low-end with the high-pass filter. Snares have less low-end and longer tails than kick drums, so we used a faster attack time and slower release time. Next, we opened up the SSL E-Channel Strip again and removed any excess drum bleed using the noise-gate. Thankfully, Glenn is an excellent engineer, so all three tracks of these tracks were already in-phase and didn't require any adjustments-but checking any similar multiple-mic'd drums is easy with InPhase. InPhase by Waves lets you monitor two waveforms and make adjustments to correct for phase problems. Since this session includes two mics at the top of the snare drum and one snare bottom mic, the first step should be checking the phase relationship. Snare Drum: InPhase, SSL E-Channel Strip, dbx-160 (Check out our basics of compression guide if you need a little more guidance here.) Next, we pulled up the dbx-160 compressor for a little extra punch, applying between 5dB to 10dB of gain reduction at a 4:1 ratio, as well as 10dB to 20 dB at an ∞:1 ratio in parallel. For this particular track we wound up boosting with a bell around 90Hz, making a big, wide-Q cut around 450Hz, and adding a significant boost with a high-shelf around 8kHz. Since this particular song is a little heavier, we used the strip's EQ to hype the highs and lows, and scoop the mids. While every song you mix will be different, this is a good way to leave space at the bottom of the frequency spectrum for a low bass guitar or synth sound. We used the E-Channel Strip's high-pass filter to get rid of the lowest sub frequencies. You can hear how much cleaner this makes our kick demo tracks in our first playlist below, which also includes our isolated "kick sub" track, where we've treated the kick drum's sub-harmonic frequencies. Try to time the release of the gate to the tempo of the kick pattern. By using the plugin's noise-gate, we've set slower attack times to allow the low-end of the kick to pass through and fast release times to keep it tight and punchy.
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Waves' SSL E-Channel Strip-modeled after the original filter and EQ strip on SSL's 4000 series recording consoles-is great at removing excess drum bleed. Kick Drum: SSL E-Channel Strip and dbx-160 Shoutout to Glenn Fricker of Spectre Media Group for the amazing drum tracks. We'll be using the Scheps 73, an SSL E-Channel Strip, the dbx-160 compressor, API 2500 compressor, the InPhase phase corrector, and the PuigTec EQ to bring this session to life. Today we're taking a look at some of their most iconic plugins-all faithfully executed emulations of classic studio hardware-and how they can help you achieve a killer drum sound. Waves has since become synonymous with digital audio and mixing "in-the-box." It was the first commercially available recording plugin that went on to spark a digital revolution that's still taking place to this day. Waves has been a staple in the audio community since they released the Q10 Paragraphic Equalizer in 1992.
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