You take out a lot of mids you would probably have a fuller sound if you used more narrow cuts. The drums sound ok in isolation but they sound hollow in the mix.
@@MFKitten along with the fact there will be the sound of the actual kit when in the room, of course if it is a huge room, things are different, but for small/ medium sized gigs
Yes. I mixed like this starting out. It's a long road. Lifelong learning curve. I used to OBLITERATE all the mids. It's a quick "nuke it" approach and just eradicates any issues before they even rear their head. Problem is, you throw the baby out with the bathwater. The end result is a severely truncated, hollow sound. It works, every time, but lacks nuance. Go listen to John Bonham. Three mics. Four on early stuff. Organic. Or if your not into rock, listen to some jazz from the 60's and 70's. Buddy Rich, Gene Krupa. The approach in the video would never fly back then. It works, but doesn't sound real, like it actually happened in a room. Half the info is missing. And yeah, I'm old, but good sound is good sound, no matter your age. I once worked with a young drummer, and he had never been in a studio before. He kept saying "My drums have no TONE! I don't like the drum sound." I couldn't figure out what he was talking about. I tried adding reverb, maybe that was it..,Added a couple mics etc. Nothing was making him happy. I was maybe 24, and he was 19 or so. I had been doing the same mixing moves for 5 years at this point. I'm thankful he said something to me. cuz it shook me up. So much so, i had trouble sleeping that night, cuz i wanted him to be happy with the sound. Had he not criticized me, I would have continued thinking i was doing it the best way. I started to listen to other records. Really well recorded drums. Guess what? They had mids, punch. Air, without harshness. And most of all SIZE with space still around each piece of the kit. Tougher to achieve cleanly. But obviously we have thousands of records of people doing it. I began totally changing how i worked, and began looking at an approach to do as little harm to the original sound as possible. Keep as much of what was originally there as possible, instead of walking up to the console, reaching for 350 hz, and swiping it all out etc. Thanks for the video though, these are good starting points maybe for live sound guys. This approach tends to work quickly and reliably when you're under the gun. Appreciate the effort. It is a good video, and shows good starting points taught in textbooks in the 80's and earlier.
@Intrinsic.Recording can’t really argue with you lol. My kick and snare aren’t all that massively different, but I do toms in a much more precise way and very clearly get better results these days. Thanks for watching!
This is what I have been looking for all these years....I finally found your channel, thank you sir, I wish you can go over again and tackle the dynamics too, but can apply this step on a subgroup I want to have purposefully for my kick?
Greetings from Ghana. Godwin here and Just discovered this channel today. Have watched all the videos and added them to my notes 📝 as a musician. God bless you Andrew...!!
For me is too much high end generraly, on snare and also it's gonna have a lot of bleed in the toms if you don't cut that high end. Instead of boosting the entire high end, I do the opposite, generally I use a high shelf to cut and then I boost the specific frequency of the kind of brightness I want, depending on how it sounds. Also, the fundamantal, sometimes is too much or we have to shape a bit of it, depending on filters available. Anyway, allways great to see how other people do things. And the full mix sounds nice🤟
Fair point. Either my next video or one very soon after that is basically going to be all about phase coherency with multiple mics, what it is, the importance, let people hear it out of phase and in phase, etc.
Ok, but don't forget to invert the phase on the bottom snare. the bottom mic is usually 180º oposite compared to the top one and if you don't invert its phase, you end up mixing nearly the same signal 180º out of phase and you loose low body by phase cancelation.
This was so helpful thank you Andrew! I could definitely use some tips on female worship vocalists. Ours are either inaudible or they’re ripping your head off. I can’t find the sweet spot.
I actually just posted a video on how to do bass guitar! It’s not on X32, but the information is valid for basically any digital console. Reverb videos are coming!
After doing this myself on a separate scene on our board at church, there's a world of difference, you can actually FEEL the drums! The only thing I need to figure out is how to route the effects, I know you have to set up a mix bus with the channels you want affected, send the bus to the effects, then they come back stereo into the auxiliary ins on the 3rd page of the board, but from there I'm not sure what to do.
@ Benjamin Kelly. Easy to do. First engage the button for mixbus 9-16. Then select sends on fader button, then select which efx you want to use. Then go to the chan/chans you want to send to the efx bus and set them to unity on the chan strip then disengage the sends on fader button then you are now set use efx by pushing up the send fader on the efx bus you chose to use..
Hey Im trying to learn more about using mixers and equalizing sound. You mentioned the word FUNDAMENTAL when equalizing but I couldn’t catch what it was. If you can explain what fundamental in the mixer is please.
May I know how you do this? Meaning, how do you play the loop and adjust each channel. Do you just simply adjust each channel based on what you expect the sound to be. So if you are listening for kick, then you adjust the eq in the kick mic.
Thanks Jordon! If you want to go to my website (www.lepardproductions.com) you can send me an email and I'd be more than happy to help you with whatever you're dealing with.
Andrew- are you able to provide a cheat sheet for this set up? I’m building a briefing package that I can train a team at our church. I’m happy to share the Google Doc I have built so far, including referencing this awesome video! 😊
Well, would have been interesting, what the kit sounds really raw, without gates. The Kickdrum gate barely opens so all you get it the click of the beater. And with that EQ setting you are killing the kick completely.
The toms are gated to death. No tone, no sound. I use the DM-20s on toms as well and never use gates. What did the drummer say when he heard his drums alone?
The way that polarity works it's pretty much never an always yes or no thing. If you're using both a snare top and bottom I like to check reversing the polarity on the snare bottom to see if it gets a little thicker sounding, but a lot of the time I end up just leaving it as is.
I see some triggers on the drums... Anyway this is surely a valuable general guide, but the frequency cuts you did are REALLY heavy and are totally impossible to apply to all the situations. Drums are damn difficult to treat, and every drum/drummer/tuning is different. Another foundamental aspect is the compression (I can hear A LOT of it in this video) and the gate section, wich is equally important on stage, to preserve ears from feedbacks and to fine tune the length of the sounds (i.e. toms)
Yes, there are triggers on the drums, but for this video I truly didn't use them at all. Traditionally we just use them for controlling gates by setting the key of the gate to be that channel. A major point I've been trying to make in almost all the videos I've posted here is that in live sound often times big EQ moves are necessary not only to get individual inputs to sound good, but far more importantly, to carve out space for the other instruments to play nicely with it. You're 100% right, there is no such thing as a perfect EQ for every version of an input, this was just an example of what I did to these drums for these results within the context of everything else happening on stage. Yes there is gating and compression, but I choose to not show it so the video wouldn't be like 30 minutes long lol. Also, there really wasn't that much compression on things. I'm pretty sure I just hit the auto button for the toms and had them hitting like 2-4 db of compression each, and the snare didn't even have a gate.
Really good. I like the outlay of the M32. It has a great overview and look great to. Too bad everything has become so expensive these days. It is a 10 year old mixer and has actually gone up a few thousand dollars in price here in Europe. Have been looking at a Presonus Studio/Live 32s. Do you have any experience with that mixer?
I totally agree that it's frustrating that old equipment is somehow getting more expensive, but unfortunately I'm not aware of a better option. I helped install a Presonus Studio Live 32s for a youth room in a large church about a year ago and it just seemed noticeably worse than an X32/M32. The workflow isn't great in my opinion, and I also think it sounds thinner and harsher in general. Is it usable? Absolutely. Would I pick it over an X32? Absolutely not.
I don’t have a video about that yet, but I’d like to do one soon! Just out of curiously what would you want to know about the process if I were to make a video about that?
@@andrewlepard how you would send out of the board, I.e. would you use a simple monitor mix bus setup or something different, how you would later the instruments.
@@andrewlepard sorry bad wording for that question. I’m a Worship Director out of Owensboro Ky and I was asking about the worship mix we hear in the video. We have been working on a live stream sound and trying to improve for our listeners online. I was just curious if that was majority post production or live mixed audio from the service we are hearing. If so I was wondering what signal chain for mixing live you are using, mixer, software interface those sorts of things.
@@nathanbolin5964 For what you're hearing here the entire mix was done just using the X32 and was just recorded with the USB card to my laptop. I used the built in limiter plugin inside the console to get it loud enough at the end, but in general all you're hearing is the processing that's happening with just normal EQ, gating, compression, and reverb. I did get to play with it for an hour or two before recording, so this isn't necessarily fair to call it a "live" mix, but nothing I did was different than what would be possible live.
I never see any FOH guy to cut almost all fq on anything... Why??? If the mic are good and band is play alright and you have good PA like D&b, l acustic, mayer the starting point is all equal and then you just cut some problematic stuff not cut all and say this is nice
I must honestly say that I don't like it, but that's all individual. In my opinion, you didn't complete the whole picture, you didn't get the UNITY of the sound.. it doesn't have that smoothness. You can hear everything and yet the picture is not clear. But that's just my opinion. Cheers !
Sorry to say, but you butchered those toms! Pretty much the same way a lot of guys do lol. Here's the way to amazing toms live or in the studio. 1 Find the fundamental. 2 BOOST the fundamental slightly. Which means you will have to lower the gain. 3 Find the first octave above the fundamental. (Just double the frequency that you boosted with the first eq) and CUT that first octave frequency with a narrow Q as much as 6-8 dB 4 Find the next octave up again by doubling the frequency of the second eq that you used, and CUT that frequency in the same manor, narrow Q and 6-8 dB. 5 Find next octave and repeat if necessary. I usually find two is enough.... You are eliminating the OVERTONES that are ringing out ACCURATELY! Not by smashing the whole lower end out of your toms like you did. They sound thin if you do it with huge wide deep cuts. Be more surgical!! And use a gate that's tuned to the right frequency, and you will have WAY fuller drums to work with in the mix. ....If you want some "tick" or "snap" sound, look at at slight boost anywhere from 3.5k to 5k. If you go much higher it sounds like Metallica lol You eliminated the overtones, but grabbed too much with them. Not all those frequencies were the problem. Most of it comes from the octaves above the fundamental. This was one of the best secrets to great toms that I've ever learned! Give it a try guys!! Cheers!✌
Maybe it's good for church unpro approach to the sound, but in real music world you would not be allowed to come close to the mixer!!! People, can you imagine that any respected artist or band have such flat and bad sounding drums at the show? Never! Man, you cut everything possible from the beauty of the sound! Maybe to not distract them from the worshiping))) But it's a different story.
straight dumb. every drum set is different and every player playing is different. Use your ears and trust them, your ears are your best instrument as an engineer
Bruh, if your answer to everything is just to use your ears and not try to learn from anyone else why are you watching videos like this? It's not a very good video if I basically just tell people to figure it out on their own.
@@andrewlepard actually it would be a good video. use your ears to listen to quality produced music, then keep trying different things that sound good to you. not emulating something on a video which has no reference to room eq, drum set size, mic usage, mic placement, stye of music. etc....
This was the best video I've seen on this. Short and to the point, I actually took notes! Thank you.
You take out a lot of mids you would probably have a fuller sound if you used more narrow cuts. The drums sound ok in isolation but they sound hollow in the mix.
You have to take into account the frequency response of the headphones he's using.
@@MFKitten along with the fact there will be the sound of the actual kit when in the room, of course if it is a huge room, things are different, but for small/ medium sized gigs
All the “air” of the drums has gone, needs more mids in my opinion
Yes. I mixed like this starting out. It's a long road. Lifelong learning curve. I used to OBLITERATE all the mids. It's a quick "nuke it" approach and just eradicates any issues before they even rear their head. Problem is, you throw the baby out with the bathwater. The end result is a severely truncated, hollow sound. It works, every time, but lacks nuance. Go listen to John Bonham. Three mics. Four on early stuff. Organic. Or if your not into rock, listen to some jazz from the 60's and 70's. Buddy Rich, Gene Krupa. The approach in the video would never fly back then. It works, but doesn't sound real, like it actually happened in a room. Half the info is missing. And yeah, I'm old, but good sound is good sound, no matter your age. I once worked with a young drummer, and he had never been in a studio before. He kept saying "My drums have no TONE! I don't like the drum sound." I couldn't figure out what he was talking about. I tried adding reverb, maybe that was it..,Added a couple mics etc. Nothing was making him happy. I was maybe 24, and he was 19 or so. I had been doing the same mixing moves for 5 years at this point. I'm thankful he said something to me. cuz it shook me up. So much so, i had trouble sleeping that night, cuz i wanted him to be happy with the sound. Had he not criticized me, I would have continued thinking i was doing it the best way. I started to listen to other records. Really well recorded drums. Guess what? They had mids, punch. Air, without harshness. And most of all SIZE with space still around each piece of the kit. Tougher to achieve cleanly. But obviously we have thousands of records of people doing it. I began totally changing how i worked, and began looking at an approach to do as little harm to the original sound as possible.
Keep as much of what was originally there as possible, instead of walking up to the console, reaching for 350 hz, and swiping it all out etc. Thanks for the video though, these are good starting points maybe for live sound guys. This approach tends to work quickly and reliably when you're under the gun. Appreciate the effort. It is a good video, and shows good starting points taught in textbooks in the 80's and earlier.
@Intrinsic.Recording can’t really argue with you lol. My kick and snare aren’t all that massively different, but I do toms in a much more precise way and very clearly get better results these days. Thanks for watching!
This is what I have been looking for all these years....I finally found your channel, thank you sir, I wish you can go over again and tackle the dynamics too, but can apply this step on a subgroup I want to have purposefully for my kick?
I love the “YEAHH” when he dials it in 😅😊
OMG, the last strike of the snare before moving to toms is PERFECTION! I can't mic top and bottom (church issues) but I wish I could!
Wonderful! You guys mic the same top and bottom? Wow! Nice
Greetings from Ghana.
Godwin here and Just discovered this channel today.
Have watched all the videos and added them to my notes 📝 as a musician.
God bless you Andrew...!!
I am in the process of having audio training at my church, and I need this to be in the lesson
I’ll be posting a bunch of videos on basically everything I do, so subscribe to see more!
Could you do more on an x32! Eq on piano and vocals would be super helpful
I actually just posted a video on EQ for vocals! ua-cam.com/video/-y5hAyzzCD4/v-deo.html
EQ is EQ, so a specific console really doesn't change what you would do with it
Great sounding drums! May I ask if you do use extra software to enhance the drum audio mix?
For me is too much high end generraly, on snare and also it's gonna have a lot of bleed in the toms if you don't cut that high end. Instead of boosting the entire high end, I do the opposite, generally I use a high shelf to cut and then I boost the specific frequency of the kind of brightness I want, depending on how it sounds. Also, the fundamantal, sometimes is too much or we have to shape a bit of it, depending on filters available. Anyway, allways great to see how other people do things. And the full mix sounds nice🤟
Any how-to this basic with a top and bottom snare should include a quick polarity check and an explanation of why checking polarity is important.
Fair point. Either my next video or one very soon after that is basically going to be all about phase coherency with multiple mics, what it is, the importance, let people hear it out of phase and in phase, etc.
Dude! Freaking love this!
Ok, but don't forget to invert the phase on the bottom snare.
the bottom mic is usually 180º oposite compared to the top one and if you don't invert its phase, you end up mixing nearly the same signal 180º out of phase and you loose low body by phase cancelation.
This was so helpful thank you Andrew! I could definitely use some tips on female worship vocalists. Ours are either inaudible or they’re ripping your head off. I can’t find the sweet spot.
I will definitely do a video on processing vocals, and I'll make sure to include a female vocalist!
Simple and effective. That it and period.😎
Thank you so much for the pedagogy
Thanks for this. please do a video for EQ and compression of Bass guitar on X32/M32. Also do a video on vintage Room reverb on X32 pls. thanks
I actually just posted a video on how to do bass guitar! It’s not on X32, but the information is valid for basically any digital console. Reverb videos are coming!
Спасибо огромное за видео!)
Nice one! I’m sure every drum would have different eq settings based on how its tuned right? Liked the way u spread knowledge here 💯
After doing this myself on a separate scene on our board at church, there's a world of difference, you can actually FEEL the drums! The only thing I need to figure out is how to route the effects, I know you have to set up a mix bus with the channels you want affected, send the bus to the effects, then they come back stereo into the auxiliary ins on the 3rd page of the board, but from there I'm not sure what to do.
That's awesome man! Have you gone into the effects page and set the reverb to be inserted on the bus you're sending the drums to?
@ Benjamin Kelly. Easy to do. First engage the button for mixbus 9-16. Then select sends on fader button, then select which efx you want to use. Then go to the chan/chans you want to send to the efx bus and set them to unity on the chan strip then disengage the sends on fader button then you are now set use efx by pushing up the send fader on the efx bus you chose to use..
A natural talent!!
Hey Im trying to learn more about using mixers and equalizing sound. You mentioned the word FUNDAMENTAL when equalizing but I couldn’t catch what it was. If you can explain what fundamental in the mixer is please.
SNARE POLARITY!
Check out my latest video, I talk about about polarity and phase relationships between microphones!
How did you get your daw's channels routed to the x32 inputs? My daw's channels keep getting routed to the buses
That was awesome, thank you
AWESOME VIDEO!
Excellent! A bit fast but learned a lot.
Thanks... I needed that! 🥰🙏
Glad it was helpful!
Amazing bro good job
May I know how you do this? Meaning, how do you play the loop and adjust each channel.
Do you just simply adjust each channel based on what you expect the sound to be. So if you are listening for kick, then you adjust the eq in the kick mic.
Found you on TikTok! Love how simple you make it! I need your help with our livestream audio!
Thanks Jordon! If you want to go to my website (www.lepardproductions.com) you can send me an email and I'd be more than happy to help you with whatever you're dealing with.
Thank you so much for this content, it really helped me a lot. I just wanted to ask, can one use the hall reverb effect on the kick drum?
Great video
Oh good gravy. Good thing God doesn't care what it sounds like, as long as it's from the heart.
Do you have a video on how all these affects work and what they do?
those OH could have had a high shelf to add some warmth
Andrew- are you able to provide a cheat sheet for this set up? I’m building a briefing package that I can train a team at our church. I’m happy to share the Google Doc I have built so far, including referencing this awesome video! 😊
"How to use an X32 make expensive drums sound flat and dead."
Poor man 😢😢😢😢.......
Relax
Well, would have been interesting, what the kit sounds really raw, without gates. The Kickdrum gate barely opens so all you get it the click of the beater. And with that EQ setting you are killing the kick completely.
bottom mic flip polarity
Thanks for this. What mixing console is that?
Thanks so much
HI great Job
Did you achieve this entire mix ( vocals and Band) on the x32?
Hi sir can teach me how to EQ keyboard sir thanks for your response
Here's a link to my video on EQ and compression for keyboards! ua-cam.com/video/0i1jzynpn6g/v-deo.html
The toms are gated to death. No tone, no sound. I use the DM-20s on toms as well and never use gates. What did the drummer say when he heard his drums alone?
Love this video. I have one question.....With the Snare bottom are we supposed to reverse the polarity?
The way that polarity works it's pretty much never an always yes or no thing. If you're using both a snare top and bottom I like to check reversing the polarity on the snare bottom to see if it gets a little thicker sounding, but a lot of the time I end up just leaving it as is.
How to mix bass
I see some triggers on the drums... Anyway this is surely a valuable general guide, but the frequency cuts you did are REALLY heavy and are totally impossible to apply to all the situations. Drums are damn difficult to treat, and every drum/drummer/tuning is different.
Another foundamental aspect is the compression (I can hear A LOT of it in this video) and the gate section, wich is equally important on stage, to preserve ears from feedbacks and to fine tune the length of the sounds (i.e. toms)
Yes, there are triggers on the drums, but for this video I truly didn't use them at all. Traditionally we just use them for controlling gates by setting the key of the gate to be that channel. A major point I've been trying to make in almost all the videos I've posted here is that in live sound often times big EQ moves are necessary not only to get individual inputs to sound good, but far more importantly, to carve out space for the other instruments to play nicely with it. You're 100% right, there is no such thing as a perfect EQ for every version of an input, this was just an example of what I did to these drums for these results within the context of everything else happening on stage. Yes there is gating and compression, but I choose to not show it so the video wouldn't be like 30 minutes long lol. Also, there really wasn't that much compression on things. I'm pretty sure I just hit the auto button for the toms and had them hitting like 2-4 db of compression each, and the snare didn't even have a gate.
Where do you see triggers?
@@BjorgenEatinger On the drums
@DavidMacVicar The drums are never shown, so thus I was curious.
@@BjorgenEatinger Triggers can be seen in the first 10 seconds of the video lol
I See You
🔥🔥🔥🔥🔥
Super
make full band eqing
how to set live vocal male and female
Really good.
I like the outlay of the M32. It has a great overview and look great to. Too bad everything has become so expensive these days. It is a 10 year old mixer and has actually gone up a few thousand dollars in price here in Europe.
Have been looking at a Presonus Studio/Live 32s. Do you have any experience with that mixer?
I totally agree that it's frustrating that old equipment is somehow getting more expensive, but unfortunately I'm not aware of a better option. I helped install a Presonus Studio Live 32s for a youth room in a large church about a year ago and it just seemed noticeably worse than an X32/M32. The workflow isn't great in my opinion, and I also think it sounds thinner and harsher in general. Is it usable? Absolutely. Would I pick it over an X32? Absolutely not.
Any way u could show what u doing a little closer hard to follow
6:41 Reverb on drumbus ?
Do you have a video of how you would set up a livestream mix?
I don’t have a video about that yet, but I’d like to do one soon! Just out of curiously what would you want to know about the process if I were to make a video about that?
@@andrewlepard how you would send out of the board, I.e. would you use a simple monitor mix bus setup or something different, how you would later the instruments.
Ahhh, so you mean a setup for a FOH board to also be used for a livestream?
@@andrewlepard yes
try narrower eq cues. Let the drum breathe 😂
❤❤❤❤
Drum tuning key as well
How is this livefeed ran to online. I’m interested in the signal chain to get to the sound we here in this video.
Do you mean how I’m recording the audio for this video, or how it normally gets to be streamed on UA-cam/Facebook on a weekend?
@@andrewlepard sorry bad wording for that question. I’m a Worship Director out of Owensboro Ky and I was asking about the worship mix we hear in the video. We have been working on a live stream sound and trying to improve for our listeners online. I was just curious if that was majority post production or live mixed audio from the service we are hearing. If so I was wondering what signal chain for mixing live you are using, mixer, software interface those sorts of things.
@@andrewlepard by the way awesome mixes, also loved the tip on mixing with the hipass and low pass filters on in another video.
@@nathanbolin5964 For what you're hearing here the entire mix was done just using the X32 and was just recorded with the USB card to my laptop. I used the built in limiter plugin inside the console to get it loud enough at the end, but in general all you're hearing is the processing that's happening with just normal EQ, gating, compression, and reverb. I did get to play with it for an hour or two before recording, so this isn't necessarily fair to call it a "live" mix, but nothing I did was different than what would be possible live.
@@andrewlepard ohhhh yea volume is always a big issue but I had never considered the limiter processor.
Hello Sir how are you
Hope you're doing well
I want to meet you
Where are you from?
I never see any FOH guy to cut almost all fq on anything... Why??? If the mic are good and band is play alright and you have good PA like D&b, l acustic, mayer the starting point is all equal and then you just cut some problematic stuff not cut all and say this is nice
Where can I find tracks to play with the EQ?
Do you still need them @torrance?
Can you please let us know how to the tracks please?
What about your gates
and also the compressor LOL
Is this worship group song you eQ is it on UA-cam bro they sound amazing
What’s the church name
It was a specialty group just for the conference I was mixing, but the main guy who put it all together does stuff for Mission Community Church in AZ
I like you so much
lol dude... you cut more than an emo girl in the early 2000's.
I want to be your student
What would you like to learn? I’m happy to try and help!
Everything about live sound
WTF !!
To me the kick sounds unnatural…. Sounds like a techno kick.
I must honestly say that I don't like it, but that's all individual. In my opinion, you didn't complete the whole picture, you didn't get the UNITY of the sound.. it doesn't have that smoothness.
You can hear everything and yet the picture is not clear.
But that's just my opinion. Cheers !
Hahahahahaha
oh man guys don’t mix with your eyes
Sorry to say, but you butchered those toms! Pretty much the same way a lot of guys do lol.
Here's the way to amazing toms live or in the studio.
1 Find the fundamental.
2 BOOST the fundamental slightly. Which means you will have to lower the gain.
3 Find the first octave above the fundamental. (Just double the frequency that you boosted with the first eq) and CUT that first octave frequency with a narrow Q as much as 6-8 dB
4 Find the next octave up again by doubling the frequency of the second eq that you used, and CUT that frequency in the same manor, narrow Q and 6-8 dB.
5 Find next octave and repeat if necessary. I usually find two is enough....
You are eliminating the OVERTONES that are ringing out ACCURATELY! Not by smashing the whole lower end out of your toms like you did. They sound thin if you do it with huge wide deep cuts. Be more surgical!! And use a gate that's tuned to the right frequency, and you will have WAY fuller drums to work with in the mix.
....If you want some "tick" or "snap" sound, look at at slight boost anywhere from 3.5k to 5k. If you go much higher it sounds like Metallica lol
You eliminated the overtones, but grabbed too much with them. Not all those frequencies were the problem. Most of it comes from the octaves above the fundamental. This was one of the best secrets to great toms that I've ever learned! Give it a try guys!! Cheers!✌
Butchered is a bit harsh, but in general I actually do agree 😂 what your describing sounds a lot like what I do these days when I EQ toms.
Maybe it's good for church unpro approach to the sound, but in real music world you would not be allowed to come close to the mixer!!! People, can you imagine that any respected artist or band have such flat and bad sounding drums at the show? Never! Man, you cut everything possible from the beauty of the sound! Maybe to not distract them from the worshiping))) But it's a different story.
straight dumb. every drum set is different and every player playing is different. Use your ears and trust them, your ears are your best instrument as an engineer
Bruh, if your answer to everything is just to use your ears and not try to learn from anyone else why are you watching videos like this? It's not a very good video if I basically just tell people to figure it out on their own.
@@andrewlepard actually it would be a good video. use your ears to listen to quality produced music, then keep trying different things that sound good to you. not emulating something on a video which has no reference to room eq, drum set size, mic usage, mic placement, stye of music. etc....