You can sidechain the hi-hat to the snare, so it ducks whenever the snare hits, or you can go through the hat track, separate by region, and mute obvious snare hits. Note that the room mic might not need compression. Do you have any suggestions? Thank you for all you do. Be sure to watch out for pumping, though, because that will sound unnatural, and usually bad. In most songs there are two low end instruments. It’s a much more precise picture, with much more processing applied, and at an earlier point in the mix. As with the kick, compress for transient emphasis—or compress for dynamic consistency if the player is all over the place. Read on to learn how you can electrify your live performance. Room Mics: Up next is the room mic (though sometimes you get two). Simply set the gate so that the vibrations in-between hits are not heard. Just don’t think it’s going to sound as natural as the other technique; it’ll usually sound more manufactured and closed-off, but this can be a virtue if the song calls for it. When this question is answered, I notch down the overlapping frequency range either from the kick or the bass (Neutron 2’s Masking Meter can be a good help for), and unsolo everything. Let’s go through the foundational EQ, Compression and Gating techniques for mixing live drums. I am not going to say this is wrong altogether, but it is not the right solution for church live sound. Thank you for this guide Kade! On snare, I like to boost whatever low-midrange frequency I can get away with to give heft without interfering with everything else; on kick, I like to emphasize the click of the kick—the 2–4 kHz region that gives it some snap—and perhaps boost the low end. Drums. Yet, most who read these articles are volunteer sound techs with limited time available, so I try to stick to the things that will make the greatest impact. There are many things that can make the low end muddy, so it’d be hard for me to tell you exactly what is going on here. Go ahead and rebalance them. Time to mute the rooms and see to see if it’s coming from the overhead mics. The aim here is to help you handle any drums that come at you; sometimes, drums are recorded quite badly, or out of step with the rest of the tune. I don’t want extraneous sound from the rest of the kit in here—just the kick, please. When it comes to EQ, emphasize frequencies that bolster the heft of the instrument, as well as its “crack”. Overheads: With our goals for the mix firmly in mind, play with the panning of the overhead tracks, using the technique outlined in this article to answer questions such as, do we want a centered snare? I can do minimal EQ adjustments here, not to the left or the right mic, but to both together, as I’ve routed their outputs to a stereo aux track. Pick a section with a few cymbal hits, so you can work on the blend of the overheads and the spot mics here. The Most Important EQ Techniques for Church Sound, The Ultimate Guide for Choosing Audio Cables. When the drums are fully isolated and gated, it is tough to get them to fit with the rest of the mix. The use of compression here is entirely up to your tastes and the songs needs. It’s your job to fix it, so familiarizing yourself with multiple techniques can help you get out of specific binds. The one drawback is that you live or die by the quality of your overheads—the rest of your drums will fall behind them. There is more to know when it comes to an amazing drum mix. Find a level that works with the kick and snare, as well as the harmonic instruments, and move on to your overheads. This gives you more opportunity for control, but don’t be surprised if you spend a lot of time filtering out unnecessary low end boom, emphasizing the fundamental, and taking out midrange boxiness while adding snap. Now I move on to the kick mics. In the former case, the world is your oyster with distortion, EQ, compression, and transient shaping—in short, grab something like Neutron 2 and go hog-wild until you’ve got a cool, signature sound that fits within the context of the mix. So that’s a good starting point. Don’t go crazy on EQ: usually a bit of high-pass filtering and a wide notch to tame anything overly harsh is all you need.

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