Mixing drums can be challenging at times, so we’ve put together some tips and tricks to get a clearer, more polished mix in your home studio. Find out the best ways to compress a kick drum, EQ your snares, treat your percussion, and more. Read more.
Updated Nov. 2019. The recording of a snare drum is the focal point of every modern recording. Let’s outline some mic placement techniques that will help focus in on capturing specific sounds when recording a snare drum. Read the post.
Every studio recording should begin with pre-production, as prepping for a studio recording is the only way to take advantage of the time you have. Record yourself playing your band’s songs to understand how your tracks will come together in the studio. Review your recordings and focus on your parts to understand where improvements need to be made to lock down the tracks. Read more.
When it comes to a great performance in your next recording session, how do you summon your musical mojo and nail that transcendent take? Known as the house drummer for Saturday Night Live and recordings with Ray Charles, Sheryl Crow, Pink, Rod Stewart, Shakira, and Elton John, Shawn Pelton has built a tremendous career by capturing such in-studio magic. The top-call New York studio drummer offers performance tips on how to bring your own best playing to every take you track. Read more.
Depending on the genre of music, if you’re doing a live performance, or you’re recording the entire band or ensemble simultaneously, sometimes you can get away without a click – especially if you have a really solid drummer. But 80% of the time in a studio recording – especially if we’re just cutting drums and bass – we’re playing to a click. Read more.
I’ve had drummers who won’t take off their front head, and refuse to cut a hole in the front head. I’ve had to work with that. They had gotten the tuning to sound amazing, or they were purists and didn’t want anything inside the drum. The biggest issue you have when you don’t have the mic in the drum is you’re going to get bleed – bleed from the cymbals, and from the other drums – which can be a real problem for the kick, because it’s driving the entire song, and a lot of times when you’re mixing you want to gate your kick and snare. Read more.
I want to hear a combination of the drum – the hit of the drum – and the snares almost equally as loud as the drum. In a standard 4/4 set up, you’re hearing the snare on the 2 and 4. That snare has a space to fill – it’s the answer to the space the kick drum is filling on the 1 and 3. The snare and the kick have to work together to pull the song forward. If you have a great kick sound, and the snare isn’t matching it, you’ll have this imbalance. Read more.