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Old 07-11-2019, 11:57 AM   #10
kirk1701
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Join Date: May 2015
Location: Ontario
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Quote:
Originally Posted by WarringtonCJ View Post
I guess I could be a bit more specific.

Snare Track:
Nothing here but an EQ boosting a bit of 200hz.

P-Comp:
Using a distressor clone to obliterate it then high passing it.

Snare Bus:
Mostly there to just sum the snare and pcomp but apparently i cut 650hz out of it for some reason I don't remember.

Drum Bus:
EQ with some small moves done to balance out the overall kit

SSL G384 compressor clone with the side-chain HPF engaged at around 150hz (so the compressor ignores the kick drum basically) hitting about 2/3 GR on snare hits. Im not infront of my desk to tell you the exact settings but its pretty fast on both settings. The attack is a tad slower than the release.

Limiter, which isn't really doing much. It's a couple db of GR every now and then with really hard hits.
Far too much compression, as I suspected, not enough eq shaping on the actual snare track.

I'm assuming that "snare bus" is parallel compression?

Compression should be the last thing you reach for if you want the sound to jump out, oddly enough. It sounds paradoxical, but too much can add mud. I learned this the hard way. Take all my advice with a grain of salt. I'm still learning. I only offer this now as it's in the forefront of my thoughts these days.

I would lose the sidechain comp at the very least and opt for a gate right on the snare channel, if you're trying to get an explosive sound. ReaGate has an awesome preset called "snare gate" that works really well for this.

Do you have room mics? Or if you're using a virtual kit, you can run the kick, snare, and toms to a separate channel and squash that to hell. This you send to an over all drum submix, along with the close mics. Blend to taste. This is just parallel compression, which you have a good handle on, it seems. Here's a Kenny tutorial that I refer back to often:

https://youtu.be/_-55L5yXyXQ

For me, parallel compression didn't make much sense till I started thinking of the parallel tracks as completely separate. I even go so far as to print the output of kik/snare/toms to a separate channel. That way I have to two separate sets of audio. I stole that idea from this video:

https://youtu.be/__9gWehqz6I

http://joelcameron.com/blog/2016/5/2...n-mixing-drums

The reverb idea was very eye-opening.

I would also suggest using "Hot For Teacher" as a reference track. That's a very speedy, dense mix, but it punches hard.
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