Personally for me that sounds a very weak kick drum sound for metal, love your comment about listening with your ears and not using pre-set ideas, sorry if that was negative but I'm used to live mixing where the band wants a huge bass drum sound ie pantera, Anthrax live etc I'm new to studio recording and trying to learn, i want to create a live sound in the studio, have you ever heard since you've been gone by Impelliteri? listen to that kick
So my issue isnt getting a good sound but a consistent sound. All the videos I watch so far talk a lot about saving gain automation for the end but I think when it comes to stuff like really fast metal bands like cattle decap, that they are using gain automation first. When I play my kick drum fast parts are quiet and non fast parts are loud. I always try to keep my drums natural since I dont have triggers. I could use samples I guess but I want to get as far as I can with the real sound. So is gain automation something you would use for metal kick drums in the beginning of your gain staging?
Hey Bobby, Wondering why EQ comes before the compressor. If boosting EQ before the compressor, won’t the compressor be affecting your EQ boosts? Or is that not the case? I am hearing people say to EQ after the compressor. Wondering if there is a “right” way :).
There is no right or wrong way. I usually compress after the EQ so the compressor reacts to the EQ'd sound. For Example: I always compress after my high-pass filtering so all of the unnecessary low-end I removed doesn't trigger the compressor.
Awesome stuff man! Question regarding compression: from my understanding, the release control will be subjective for each song, as it should kind of follow the tempo. However, in metal there’s a lot of fast double kick/double bass parts. Do you automate the release to be faster for these parts and slower for the heavy breakdowns with slow kick parts, or do you leave the release at the same setting for the whole song?
Hello Jacob! For me, attack and release settings are more in the category "character" adjuster than anything else. Every compressors attack and release settings will yield different characteristics, so I adjust them to achieve the tone that I'm after. I focus more on ratio and overall gain reduction. I keep the same settings regardless if it's a fast or slow song.
Hey dude, not sure if someone has covered this, but could you show your automation techniques for mixing? Like, do you lower volumes during fast double bass or do you just change the attack/release ratios? And how do you replace drums with samples without slate trigger?
Stay tuned..I have videos on this topic coming out in the very near future! I can say that I accomplish this through simple volume automation. For example, I attenuate crazy fast double kick parts so they sound more natural.
I know the struggle! Drum bleed was (and sometimes still is) the bane of my existence. The isolated sound you hear is a combo of three things: 1) The mic was placed halfway between the batter and resonant heads. I've found that's the sweet spot for the least amount of cymbal bleed. When it's too close to the batter head, it picks up too much cymbal bleed. 2) The drummer is a well balanced player that hits the drums super hard, but plays the cymbals with finesse. I have a lot of bleed issues when drummers aren't well-balanced players. 3) There's the Waves C1 gate on the track to eliminate the little bleed that's in the track. Let me know if this makes sense!
Hello man, My band has a ton of songs. We are very very talented and are up there with Bullet for my valentine, a7x, and killswitch engage. Would you be interested in helping us out? Please get in touch and I will send you links to our jams so you can judge for yourself. We are very interested in the way you record and your outlook and ideas.
►► Download your FREE Quick EQ Guide: frightboxrecordingacademy.com/free-quick-eq-guide/
Just check out Bobby's old videos.
Wow can't believe how much self esteem and his public speaking is improved so much.
Kudos to Bobby
4:50 that gate with 1:1 ratio made me laugh so muuuuuch thank you ! Happens to the best of us !
Yep. I’m binging all of the content and this and How To Mix Heavy Bass is amazing.
video and turtorial, +10, bubblegum included in video -1...ok make that -5.
lmao! Thanks for watching. After a 10-hour mix day, I didn't have enough mental bandwidth to remember to spit my gum out. Next time.
Personally for me that sounds a very weak kick drum sound for metal, love your comment about listening with your ears and not using pre-set ideas, sorry if that was negative but I'm used to live mixing where the band wants a huge bass drum sound ie pantera, Anthrax live etc I'm new to studio recording and trying to learn, i want to create a live sound in the studio, have you ever heard since you've been gone by Impelliteri? listen to that kick
Bobby, you sound so goddamn professional!
Been waiting for a drum one! Gordon
So my issue isnt getting a good sound but a consistent sound. All the videos I watch so far talk a lot about saving gain automation for the end but I think when it comes to stuff like really fast metal bands like cattle decap, that they are using gain automation first. When I play my kick drum fast parts are quiet and non fast parts are loud. I always try to keep my drums natural since I dont have triggers. I could use samples I guess but I want to get as far as I can with the real sound. So is gain automation something you would use for metal kick drums in the beginning of your gain staging?
Great video! Very cool. I also would like to see a video about the snare drum and snare reverb.
Thanks man, glad you dig it! Stay tuned, it's definitely in the works.
6:13 fwou-dah wanna ning nuts ..... lulz. enjoying the vids bro.
LMAO!
Thanks
Hey Bobby,
Wondering why EQ comes before the compressor. If boosting EQ before the compressor, won’t the compressor be affecting your EQ boosts?
Or is that not the case?
I am hearing people say to EQ after the compressor. Wondering if there is a “right” way :).
There is no right or wrong way. I usually compress after the EQ so the compressor reacts to the EQ'd sound.
For Example: I always compress after my high-pass filtering so all of the unnecessary low-end I removed doesn't trigger the compressor.
Awesome. Makes sense. Thank you sir!!!
Awesome stuff man! Question regarding compression: from my understanding, the release control will be subjective for each song, as it should kind of follow the tempo. However, in metal there’s a lot of fast double kick/double bass parts. Do you automate the release to be faster for these parts and slower for the heavy breakdowns with slow kick parts, or do you leave the release at the same setting for the whole song?
Hello Jacob! For me, attack and release settings are more in the category "character" adjuster than anything else. Every compressors attack and release settings will yield different characteristics, so I adjust them to achieve the tone that I'm after. I focus more on ratio and overall gain reduction. I keep the same settings regardless if it's a fast or slow song.
Hey dude, not sure if someone has covered this, but could you show your automation techniques for mixing? Like, do you lower volumes during fast double bass or do you just change the attack/release ratios? And how do you replace drums with samples without slate trigger?
Stay tuned..I have videos on this topic coming out in the very near future!
I can say that I accomplish this through simple volume automation. For example, I attenuate crazy fast double kick parts so they sound more natural.
Frightbox Recording thanks dude. I feel like I keep busting the surprise for your next videos lol.
@@TKAM88 Not a bad thing! Reaffirms for me that it's a great topic.
Do you have a quote section on your site or is it case by case basis? We might need a Killswitch cover mixed and mastered in the future.
@@TKAM88 It's on a project per project bases. You can email me at Frightboxrecording@gmail.com and you can fill me in on the details!
That raw kick has almost no bleed in it, I’d love to know how you did that because I’m always struggling with the hi-hat coming through my kick mic
I know the struggle! Drum bleed was (and sometimes still is) the bane of my existence. The isolated sound you hear is a combo of three things:
1) The mic was placed halfway between the batter and resonant heads. I've found that's the sweet spot for the least amount of cymbal bleed. When it's too close to the batter head, it picks up too much cymbal bleed.
2) The drummer is a well balanced player that hits the drums super hard, but plays the cymbals with finesse. I have a lot of bleed issues when drummers aren't well-balanced players.
3) There's the Waves C1 gate on the track to eliminate the little bleed that's in the track.
Let me know if this makes sense!
Great video but maybe chewing gum into a live mic wasn't the greatest idea 😄
Hello man, My band has a ton of songs. We are very very talented and are up there with Bullet for my valentine, a7x, and killswitch engage. Would you be interested in helping us out? Please get in touch and I will send you links to our jams so you can judge for yourself. We are very interested in the way you record and your outlook and ideas.
Hey man! Shoot an email to frightboxrecording@gmail.com and we can take it from there. Thanks!
Why does your room sound like a stairwell? Your room isnt treated?
Boss Hoss wants their Singer back ... so
Don't chew anything while voice recording, please
Don’t chew gum on the mic.
Sounds horrible
As soon as heard "Sample", I clicked away.
Found the snob.
@@eschaton hellew