Thanks for the great advice. REVerence is a cool Cubase stock plugin that offers a load of cool room emulations. So far I tried running my processed drums through a heavily compressed REVerence parallel bus and I liked it. But your stereo delay trick sounded and looked very appealing, I'm definitely going to try that too.
Kohle has a vid that demonstrates using playback through a speaker and mic placement for getting a decent room sound after the fact. Thanks for the tips, Bobby!
Hey Bobby from Australia! Loving your videos, so well explained! I'm learning a lot from you. Just a couple questions: 1. With trick 1 and 2, what if I have a drum room track AND OHs, would you still recommend doing these tricks with OHs only? Or room mics instead? Because I think a lot of mixers like to crush the room mics, not so much the OHs? 2. At 9:44 where you use the CLA-76, just confirming that this is on a send/aux that also has the EF reverb on it, and the compressor is after the CLA-76. So effectively it's like parallel compression and reverb in one? Thanks so much!
Step 1. Immediately STOP drummer from hammering his/her cymbals too hard. Stop as many times as you have to, play it back for him/her so he/she can hear how ridiculous his/her dynamics are.
The room and overhead mics never lie. Player dynamics is the difference between a great drum track and a poor fake sounding one. If there is no balance and the cymbals are too loud then there is only soo much you can do with the those room and OH tracks. '80's Tommy Lee videos of slamming the cymbals does not work in the studio.
![Weird mixing trick for HUGE DRUMS [Rock & Metal]](/img/n.gif)
Thanks for the great advice. REVerence is a cool Cubase stock plugin that offers a load of cool room emulations. So far I tried running my processed drums through a heavily compressed REVerence parallel bus and I liked it. But your stereo delay trick sounded and looked very appealing, I'm definitely going to try that too.
Awesome tips, Bobby! I've used the trick with the duplicated overheads a time or two for sure.
This is gold man. Just smashed the sub button.
Kohle has a vid that demonstrates using playback through a speaker and mic placement for getting a decent room sound after the fact. Thanks for the tips, Bobby!
Oh awesome! He's a beast.
Thanks for sharing, Bob
. Really appreciate it.
Hey Bobby from Australia! Loving your videos, so well explained! I'm learning a lot from you. Just a couple questions:
1. With trick 1 and 2, what if I have a drum room track AND OHs, would you still recommend doing these tricks with OHs only? Or room mics instead? Because I think a lot of mixers like to crush the room mics, not so much the OHs?
2. At 9:44 where you use the CLA-76, just confirming that this is on a send/aux that also has the EF reverb on it, and the compressor is after the CLA-76. So effectively it's like parallel compression and reverb in one?
Thanks so much!
Really great tricks, thanks!
Yo Bob how about a video on mixing programmed drums?
keep making good video, cheers from indonesia 🔥👍
I'm guessing this drum track was what the drummer was doing while the rest of the band was trying to tune up. AMIRIGHT?
Step 1. Immediately STOP drummer from hammering his/her cymbals too hard. Stop as many times as you have to, play it back for him/her so he/she can hear how ridiculous his/her dynamics are.
The room and overhead mics never lie. Player dynamics is the difference between a great drum track and a poor fake sounding one. If there is no balance and the cymbals are too loud then there is only soo much you can do with the those room and OH tracks. '80's Tommy Lee videos of slamming the cymbals does not work in the studio.
So so true.