How To Mix Drums In Logic Pro X (The Easy Way) | Jake Naugle | Skillshare

How To Mix Drums In Logic Pro X (The Easy Way)

Jake Naugle

How To Mix Drums In Logic Pro X (The Easy Way)

Jake Naugle

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
10 Lessons (51m)



    • 4. KICK DRUM

    • 5. SNARE DRUM

    • 6. TOMS


    • 8. Fine Tuning Everything

    • 9. THE END

    • 10. BONUS INFO

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

The whole purpose of this course is to help you learn how to mix drums in an effective way where you:

-Won't need to use more than three plugins to mix

-Will use all of the plugins in Logic Pro X

-Will learn a few tricks that will cut hours out of mixing

The drums that were recorded in the project we will mix were recorded in a shed that had no acoustic treatment, was recorded with cheap gear, and recorded on a jazz kit where we are trying to get more of a rock mix out of it. 

Meet Your Teacher

Teacher Profile Image

Jake Naugle


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. COMMERCIAL AD: What's up, you guys? My name is Jake Nagle. I'm a professional studio drummer in Utah. I have many clients around the world that send me music, and I record my drums to their music. And in this course we're gonna learn how to go from these sounding drums to going to these sounding drums. So something cool about this is we recorded these drums inside of a wooden shed, so there's no acoustic treatment going on at all. Um, the kit that we used is a jazz kids 18 inch bass drum, things like that small Tom's and we're trying to get a rock sound out of it. On the other thing is the gear that we used to record these drums is not. You know that the snare Tom Mike's all those things were like $12 each off of Amazon. And so this basically this course is for someone that's beginning and learning how to mix drums and logic Pro X. If you're advanced, it's for you as well. Maybe you conceded a different angle from a different light, But if you're a beginner, this is especially for you. You know we're gonna be going through this step by step. It's not gonna take eight hours to mix drums. Um, we use a minimal amount of plug ins and everything is inside of logic pro acts. And so if that's something of interest, you know, check it out. If not, no worries, and hopefully we'll see in there. 2. A COUPLE THINGS TO KNOW: Okay, so there are a couple of things that you should know before we start mixing. Ah, one. You know, we've set this up in a way so that you have a little bit more of an advantage. You know, for example, these drums were recorded inside of a shed. Um, that's not acoustically treated. Ah, the mikes that were used to record the drum set. I mean, they were the snare Tom and, you know, low Tom Mike's. They were, like, $10 each. So, um, and then the kit that we used to record is a jazz kid, and we're trying to get more of a rock sound out of it. Um, and you know, this was going through a laptop, and so it's just showing that you don't need all of this expensive gear to pull this off. Um, and if you've recorded inside of your room that has drywall, you know, you're instantly ahead of the game than what the's raw recordings have produced. So, um, anyways, without further ado ah, let's just jump into. It will start from, you know, setting are presets up 3. GETTING PRESETS AND LEVELS SET UP: Okay, So the first step to all of this is to get our presets set up and are level set. So logic Pro X has these great presets that the made for us that cut out a lot of time that you would initially have, um, win mixing drums. So to pull those up, we're going to press the letter. Why? Which stands for library? And now what that's going to do is bring up a list here. So we're gonna go into drums and percussion. Ah, well, actually, want to go up here, select the top here, so go into Trump's and percussion. Um, since this is the kick drum, we're going to select kick and then we're going to incite cake. Now you can mess with all these other ones. It's just inside. Cake has worked the best for me. And now with the snare drum where you're going to drums and percussion again go down to snare, then down to pop snare and then on to the Tom. So same place again Tom's and then go with the natural Tom's Same for the High Tom. And then now we've got the overhead. So troops and percussion overheads all of these air grade. I just use no unnatural overheads. I've used all of them before and they all work amazing. So you can check which one you think would be best for you, and then the next is our high hats and just go with basic high hat here. And then the last thing is the bottom snare. So go to sneer again and then to bottom snare. Now, since I've been doing this kind of a while, I know for a fact that I'm going to be lowering the overheads high at and snare bottom. Ah, track. So, um, let's get rid of the library. So impress Why again? So I'm gonna play this, and I'm just gonna mess with the levels And just so we can get a more balanced Ah, you know, sound out of everything. So here we go. Yeah, that's pretty much it. That's all we have to do here now, This near ground recorded that a little bit harder than I thought it would. You know, it came out a little bit louder, and I thought it would be so. I've turned that down. That's gonna change as we, you know, mix Ekstrom. I know we're gonna be messing with these levels, Um, as we're going through this, So Yeah, that's pretty much it. So what it sounded like before, I've actually got a bounce of the everything raw. So So that's what it sounds like. Well, that's what it sounded like. This what it sounds like after setting those presets up, right? So it's obviously not done mixed, but ah, sounds a lot better than what it sounded like before. So that just put you a little bit ahead of the game. Ah, at least you know cuts out sometime that you would initially spend. Um but yet So now let's move on to the kick drum. 4. KICK DRUM: Okay, so now that we've got a preset set up in her level set, um, let's jump into the kick drum. Now, just to let you know on all of these drums, I'm only using to plug ins, you know, besides the presets that have been already put on. So there's only to plug ins that we use throughout all of our mixing. I rarely use three, almost never four. Um, and we'll talk about all of those. So the first plug in that we're always gonna be using is the channel e que. You know. So we're gonna be messing with a different frequencies to get this sound we want. The second plug in that I use is the envelope for So that's what is going to add the punchy nous to our drums and things like that. Now, the third plug in that I rarely used but it is useful is called the expander plug in. Um and I usually only use it on the toms, and then the fourth is the compressor. Now I don't use it as much. The only time I would use it is you know, if I put it on my snare drum and I'm doing brushwork. So yeah, those were the four plug ins, I 99% of time. I'm only using too, and Ah, yes. Oh, the kick drum, What we're gonna be doing? So let's pull this up. So what we've got here, let's actually solo this right, so it doesn't sound very good. So what we'll do here is now you can see on the presets here the compressors off. I leave it off the sub bases off. Now I leave that office. Well, I have used the sub base in the past. It's just basically just gives your kick drum or beefy, more beefy sound. Um, which is good, but I don't use it just cause it seems like it always interferes with what I do on the channel eq you. But without further ado, this kick drum is an eating inch kicked room. So we're trying to get more of a rock sound out of it. And ah, it's a little bit harder to do within 18 18 inch kick drum. If you didn't notice if you're if you're a little bit more beginner over here on the left side, the inspector, um, tool area, there's this, you know, wavy looking thing here. That's the e Q And it actually, when you hover your mouse over it. Logic usually lets you know that this is the e que and so we're going to select that. You can come down here and select. This is Well, um, so we'll select that now. What will do its got a preset on here, which is good. Um, but usually with the kick drum, I recall to default. So we'll go to this arrow, select here, then go down to recall default. Let's start with the high. So I'm gonna be playing the kick drum and ongoing to boost the highs. Okay, so we boosted that. Now you can I don't know if you noticed, but I came up here to this corner little button looking thing, and I clicked on that. That just cuts off the rest of the high, um, frequencies that are going on now. This is called a high shelf. You know, when you do it on this side of the EQ you it's called a low shelf. Now, I like every single time I boost one of these areas. I do click on this corner button and you'll want to click on this dot and bring it over just so there's a cut off. The reason why you do that is because those frequencies they'll continue on and it just gets Mahdi is your mixing other drums down the line and it just interferes with different frequencies and things like that. So So we've boosted the high, and that could change as we as we get going on. Um, now we're gonna boost lows here. Now, what I usually do is already come up here, click this. Bring this over. Now I use this and I'm gonna be bringing it across, You know, to where I can find the sweet spot. So it seems cool. So let's get out the mids. So we're gonna grab this dot looking thing. Now, this is a really a lot of mids that we're cutting out, and I don't like that. I mean, it could sound good, we could mess with it. But what you'll want to do is, um, as faras thinning that out. You'll always click on this dot and then what you'll do is come up here and you will select this. Um, you know, the sides, and then you'll thin that out, and so you can see that it doesn't cut out as much. So, um, now, let's, uh what we'll do is we'll mess with this. So now the next thing that we got to do is, um, to make this more of a 30 sound, you know, get rid of you know, where we gonna get rid of her mid. So we're gonna click on this, will hold this, and we're gonna bring it to the left. We're actually gonna mess around this area, um, deceive you How that's gonna, you know, if we can make it more, you know, just sound better. So infinitely. Sounds better. Pretty sure that was the end. So I'm going to be getting here. That's like, I don't really like that. So I'll go back. Yeah, so I'm liking that. Sounds pretty good. And let's see what it sounds like with everything. That's permit. I cannot stand out very well. So if we turn that off, this is what it will sound like. Yeah, that sounds way better. So now the next step. So we've got the e que. And now what we'll do is we'll throw in the envelope or the envelope. Er basically just adds more punched and what they're already is on the kit. Um, so to do that, basically, you'll come over here, you'll select. So this is a compressor. I'm gonna replace it with the envelope, er, go down to dynamics and then go over to envelope room and then just select that should pop up basically all word messing with the on the settings. And this thing is, we're going to be boosting the gain here and then messing with this setting right here. Um Teoh kind of beef it up a Sfar. As you know, since we're adding punch to this cell, let's go to the beginning. Let's see what this sounds like. It's automatically already. Yeah. So I guess since the way this was recorded, I guess, Well, since the way that we queued this, we don't need to add too much, you know, envelope, If we do, then it gets really, really cliquey sounding on. If you're into that, that's that's fun. I'd like the metal bass drum sound. So, um, I'm super into it. And so basically, what I did is I increased this gain here that just increases the snappy nous of it and then to make it, you know, a little bit, you know? So the sound is round round, you know, So it flattens that out, um, or widens that sound out. You'll mess with this setting here. So that's all that I mess with. Um, so we can hear what it sounds like without that. That's with it was without it. You can see how it's a little bit more snappy, and you're gonna want that, Aziz. We dio and makes other drums, you know, down the line, you're gonna want that. And so basically, that's how you mix the bass drum. Now, I know that as we mix the snare that Tom's the overheads. Um, as we mix everything, we're gonna come back and we're going to do another pass there. We're gonna dio do a tune up. Basically, if we need to add on another e que or things like that, we might not need to. But sometimes we dio um just as we mess with these other frequencies, um, you know, adding e que on each one of these drums, um, you're going to see that, you know, there's it might be. You know, the kick drum might not sound is punches that did before. So anyways, that's basically how we do the kick drum and let's move on to you the snare. 5. SNARE DRUM: Okay, so let's start mixing the snare drum now. The snare drum is pretty easy to mix. In the past, I would just turn on the envelope. Er, um, boost the highs in the Q, and that would be it. But there are a few other things that we can do to make it sound better. Um, so just make sure your pops their preset is on. Since that's on, we will Presley letter. Why? To get rid of that. And let's listen toe what it sounds like right now, right? So to make it instantly sound a little bit better will turn on the envelope where that just makes brings out that cracking nous snappy sound so cool. So next step would be to turn off these buses. Now, I'm not gonna be explaining in depth how buses work, but basically, the snare drum track is going out to another track that has reverb on it. There's actually to re verbs, and that's why you're hearing that Spacey River be sound on there. So to get rid of that will turn those off. Now it's gonna sound a little bit more a lot more dry. So right, So if you're not digging how dry it sounds you can turn on bus to and you jail. Just go over to this knob, um, and bring it down. You know, somewhere in the thirties, 35 34 somewhere around there. So it sounds like right, so not too bad. Now the next step would be to seek you this thing. So, like I said, I used to just boost the highs and then be done, and so and that doesn't sound bad. Um, but there are a couple of things that we can do to make it sound better. So I'll just recall the default resettle that abuse the highs. Now, let's boost the lows. And, ah, we're gonna be bringing this up and then we'll bring you know, we're gonna be bringing this across the e que. Because since this scenario room, this is a 13 by five inch snare drum. Um, it's just not doesn't have a lot of low in, So we'll have to bring that across the EAC. You you'll see what I'm talking about. So it's too much cool. So let's cut out some mids. Bring us over here. Cool. So now let's see what that sounds like with the kids. Now I like the you know I'm liking it, but I once more snap Penis out of the snare. So let's click on the envelope. Er will mess with the gain and this other setting here. So it's the game will make it more, um, snapping. And then this setting right here, it'll make it sound more full. So cool. So we'll leave it at that. I mean, I know when we come back and tune everything up will probably have to mess with that. Let's listen to this, right. So not too bad. Now, um, again like I mentioned will probably have to mess with this when we come back and do a tune up. Maybe not. Maybe it'll sound better, but let's move on to the toms, which are by far the most annoying thing to mix on. Yeah, let's jump into it 6. TOMS: Okay, So, like I said before, mixing Toms are the most annoying part of this whole process. Um, but with these presets, it makes it so it's not so hard. So let's jump into this now. These Tom's that, you know, we recorded their jazz Tom's. I'm trying to get a rock sound out of them. And so I mean, I threw on some Evans hydraulic heads which you guys are familiar with. Those or just really, really thick heads And ah Selva, Let's Ah, we're gonna try our best, See if we can get some good sounds out of these now. First thing I do is I usually section off where some Tom hits are. In this case, that's at the beginning. Here there's too low Tom hits or hears you can see and a section that off. If you're not familiar with logic Pro X or you're just beginning, you'll just go up here this little yellow bars. What's gonna make that possible? Um, you're just gonna either press the letter C or you can go up here and press this button here. That's what's I mean. C stands for cycle, obviously, but it's a circle. And what that's gonna do is just gonna repeat that just so you don't have to keep going back and clicking toe where there's Tom Head. So let's see what it sounds like right now, right? So first thing we're gonna do is turn off these buses again. The I think these are the same buses that are going out to the reverb that the snare bus was going out to, um so we'll turn those off. I mean, we could just lower at a lot, but I'm gonna throw him off anyways, and then the next thing would be to take off the expander. Now the expander is Ah, you know, that is useful in some cases, if you're not wanting the drums to sound so ringing Um, so this is what it sounds like without the expander. Now I'm gonna make some channel eq you here and then we'll listen to it with the expander on later, just so you can see the expander basically takes out all the overtones that are going on just makes it so. It's tighter sounding. Um, I'm not really into it just cause I like the ring Me Tom sound. Some people don't so I can see why you would use that now to mess with the expander. Basically, you'll just want to mess with the threshold and ratio. So the more you open this threshold here, the more ringy that Tom's. We're gonna soon, but let's jump into e queuing. So we're gonna leave the what's you know, the same thing. What's going on or we're gonna be doing is boosting the highs. And they were gonna come down to this low and area and we're probably gonna mess around between 50 to tow 100 herds just to get the Stanley wants. Let's try that. Cool. And then the Lohan just seen if messing with the mids there, that would do anything. Yeah, that's pretty much it there. And then we'll throw on the envelope. Er, it's kind of dynamics again, Down to envelope, er we're gonna mess with the gain. And then with this sitting here, So you go down. No, sorry. That's kind of annoying hearing over and over again. But what they expanded on this what it sounds like, so that can be very useful, you know, especially if you've got Aton of Tom parts going on. It just gets way over. You know, the top with overtones going on. So, yeah, we'll leave that off, though. I like to read your sound and Ah, yeah, let's move to the high, Tom. So I know we've got So there's one hit here in the beginning which this is going to be even more annoying to listen, do we're gonna have toe see here way we don't want it like that. Cool. Well, the same thing here, let's turn those buses off. I mean, we can turn them on later when we do the tune up and things like that just to see if it sounds better and we'll throw off the expander to turn on the eq You Same process. Cool. No Lohan. And let's just mess with the mids here, see if you can get anything better sound. Um, not gonna mess with it, So, yeah, that's sounding pretty good. I guess we could mess with the highs. That's something pretty good. So now to the envelope, er, you're down to done a ranks, not envelope her same thing. Okay, Okay. Enough of that. So I'm liking that. Let's see what they sound like together. I mean, this kid zone. Not really get together. Um, just put these on. Yeah, not too bad. And then let's jump down to I know I played some Tom's in this area down here. So now you can see why you would want to expand her in there so you can if you through both of those on it's to see here. Now, this is with me not messing with any of the settings, so you can mess with the the expander. So it's not so ringing. I mean, you could go and here and just, you know, maybe I do want it a little ring air song Increase that threshold a little bit, you know, here. Right? But I really like to Rini sound Now, the Tom when I unsold these Tom's, you're going to see that it's you know, the sound is gonna change a little bit. So that's why I leave it on there. I mean, right. Just what the tom soloed It sounds just really ringing, but with all of that now, you know, keep in mind overheads high and snare bottom or may explain. So I'm liking that now, Um, What we're gonna dio I mean, I've mentioned this before. We're going to go ahead and continue on mixing, and then we're going to come back and do one more pass through to, you know, do a tune up of everything. That's pretty much how I mixed Homs. Um, I mean, you can throw on reverb and other, you know, different plug ins. Maybe we could mess with those highs a little bit, but since we're gonna be doing that with the overheads and high hat, we might not need to do. That's why. Haven't messed with it as much. That's why it's kind of, you know, sounding a little damp. Yeah, let's move on to the overheads high hat and the bottom snare, which are, fortunately, the easiest things to makes. 7. SNARE BOTTOM, HI HAT, OVER HEADS: Okay, so we're not spending too much time mixing overheads, high hat and the bottom snare, mostly. Just because most of the time I just leave it how the presets have make some. Ah, but we could make it sound a little bit better. So let's solo this will turn this up. Okay, So we're gonna boost some highs and some lows just to make the overhead tracks sound a little bit more beefy. So let's do that. Losing too much cool. So that's it was a little bit more clear. Um and, ah, I don't know if you've noticed, but I've recorded these over heads into a stereo track. Um, I just like doing it that way. It's just so I don't have to pan so much. And, you know, it just takes out a lot of work for me at least, um, some people like toe, you know, have them into two separate tracks, and then so they can mess with the overhead right and left and things like that. But, you know, there's no problem there, but I like doing it recording it into one stereo track. Um, so, yeah, that's what we're doing there with the overheads. It's just to give it a little bit more clarity, maybe beef up the track. That will add to the overall mix as well. So now let's move into the high hat. Now the only thing we're doing here is just boosting the highs to get more of a chick sound out of the hi hats. Let's do that. Let's turn this up cool. So, yeah, we're not doing too much there just because, I mean, I have this turned way down when on when It's completely mixed. And, ah, you know the high as being picked up by the snare drum as well. Um, which, um, we'll talk about a certain plug in here on the bottom stair. There's this noise gate. Haven't talked about that in this course yet. Um, I never use it. The reason is is because logic pro X is noise gay. I don't think it's that great. Um, it's just hard to work with. And, you know, for those of you that don't know what a noise gate is, it's kind of like an expander, but the noise gay, you use it to isolate a specific track, you know, to get rid of all the other tones that air bleeding into your mike. Um, you know, it's to get rid of those. So if I've got a snare drum Ah, you know, that's and I can hear the toms and kick drum and things like that, and I'm wanting to just isolated completely. That's when you would use a noise gate. Now I'm fine with other tracks bleeding into my mike's. I mean, that's its not a problem. I mean, that's just Ah, makes it makes mixing a little bit easier for me, to be honest, but as far as, ah, the noise gate, I mean, that's just something I don't use. And so we just haven't covered. It's really I mean, it's very useful. A lot of mixing engineers use it. Um, just in logic, Pro X is at least logic Rolexes. Noise gate is just not, I don't know. It just doesn't live up to the, um, the level that I wanted to. It's just very hard to work with, so let's turn that off. It'll sound a little bit different, so you'll hear. We can hear what it sounds like with it on. It kind of opens it up a little bit. And if you notice it didn't completely isolate everything else. That's just because we would have to go in and and, you know, this is just a preset, so we would have to mess with that. So we're gonna go over here to the EQ. You know, before we do that, let's turn off these buses, those air, the same buses that the pop snare and Toms have. Um, so we're not gonna be messing with that. Now, let's Keio here, Okay? So let's cool. Yeah, so that gives it a little bit more clarity. Now, let's jump to the, um, envelope. Er I do throw an envelope er on this sometimes just ah, you know, make it a little more snappy. Let's go over here. Yeah, that's pretty much all we're doing. So yeah, that's pretty much it. So the overheads high hat, the bottom sneer, that's all we're doing there. So all we did was just, you know, make it a little bit more clear sounding just to make the whole mix sound a little bit better. So, um, now we're gonna be moving into the tune up, so we're gonna be going through tuning everything up, making the whole mixed sound better even do some level setting again. And yeah, let's jump into that 8. Fine Tuning Everything: Okay, So basically, the only thing we have to do is do a tune up with everything. Now, before we do that, I want to listen to you know how it sounded before, Um, getting into this whole process and what it sounds like right now, least of what we've done so far. So this is what it sounded like when we recorded this whole thing. Ah, you know, raw cool. So now this is what we've got it to so far, you know, that doesn't sound too bad for, you know, this kid being recorded in a not so acoustically friendly environment. In fact, there's no acoustic treatment. Ah, low end gear that was recorded with this kid, you know, And the fact being that this is a jazz kid, I mean, you know, it's turned out pretty good so far. I mean, not too bad. Um I mean, there's a couple of things that we can fix here. So the tune up, Usually I'm messing with the kick drum and maybe a few things with the toms on and then just setting levels again. Ah, sometimes I'll mess with the scenarios. Well, maybe there's not enough high end or whatever. So instantly listening to this the kick drum needs to be tuned up. So what I usually dio is I just add another e que Here. So what I'll do is, um I just knew that I needed to add it. Any cues way through it on there. So anyways, let's start from the beginning. Um, so this is what this is what we've got it to right now. Right? So let's throw on another e que and, ah, we're just gonna be doing this same exact thing that we did when we mix the kick drum. Initially, we're just not gonna be adding as much like low end or high end that we did before. So okay, and then let's add let's listen to what it sounds like. You know what? I forgot to take off these frequencies here in the e que Ah. Okay. Now we should be good. This is what? That? Off with it on. Right. So the only thing I can think of is messing with the each you or not. E que the envelope to bring, like, you know, punching us of it up. Cool. Now with the snare drum. Same thing We just got a mess with the envelope or bring out the punchy nous of that snare drum. I'm just thinking they're trying to decide if I like that. So yeah, So we got a little bit more snap units out of the snare and kick drum. Now what? We want to know I'm liking the low Tom. I'm totally fine with that tie. Tom seems a little muffled. I don't know if there's I think there's just not enough high end here. Yeah, so I mean, it's OK, but ah, so see here. See? There we go. I got to do this again. Eso um Let's mess with the e que You know what I usually do? So since this the high is the highs already beautiful? Quite a bit now. This right here. Since we cut this part off when mixing. Ah, you know, from from before, I'm just gonna grab this part here. Not that this part. And I'm just gonna move it over and see if I can bring, you know, not increase the high end. But see if Aiken, you know, bring some more clarity. Okay, Let's see here. Increase the envelope. Er, I'm just like trying to make all these drums punchy. Same with the kick drum. And we could increase the the envelope on there as well. Basically, we're just trying to make everything sound as pungent as possible. Cool. Yes. Oh, not too bad. I mean, what I can do here? I mean, it should loosen up on the envelope or here. It's just when you increase the envelope on everything. Ah, then everything just becomes way too cliquey and stuff like that. So just lowering that a little bit, in fact, let me Ah, you go up here, let me just just a little bit So here at the end, Yeah, that sounds way better. There's a lot more clarity there, so yeah, that's pretty much tuning up. But, you know, you've probably noticed I don't really do anything with a high at or snare bottom, and that's for a reason. I usually just keep everything in a low. You know, if I'm wanting to increase that, I will or mess with it. But it's usually these four tracks here that I'm just focused on on the over heads. Now we could dio and listen. Just the levels here, get this sound I want Ah, really not. Not a lot to mess with their. So I'm really only bringing it up toe minus 17 minus 20 db. Um, usually, I just keep it on the low, low end there, so Yeah, that's pretty much it. I'm pretty happy with this as faras. You know how badly these were recorded and the type of equipment that we used to record it . The space I recorded in the kit that we're using, you know, not too bad. I mean, and we did this under an hour, so it didn't take us eight hours to record all of this. Um, like a lot of sound engineers say it takes, um you know, that's the power with logic. Pro excel. Anyways, eso Let's Ah, we'll do a quick recap real quick. Maybe a few other things that you'll want to keep in mind as well. So let's get into that 9. THE END: So before we listen to the whole thing or what we've got right now, um let's listen, Teoh. What it sounded like before, we're not gonna listen to the whole thing. We're kind of going to jump around and then we'll go back and listen to, you know, the mixed version. Um, let's do that, Tom. Just the end here. Right. So that's what we had before. Let's listen to what we've got now. Cool. So, yeah, I mean, it's not, you know, for this being recorded in a terrible wooden shed area with no acoustic show me. I know I've gone through this whole spill a bunch of times, but, um, you know, it's something that you know. Imagine if you recorded this in your bedroom. You know something way better acoustically treated than what we had with better Mike's. I mean, these Mike's work, cheap microphones that we got off of Amazon, you know, that's not too bad. I mean, it's not something, you know, It sounds like we recorded it in a decent place with decent gear and things like that. So and it was I really hope you guys got something out of this course. I mean, I hope you've learned something new, You know, let me know if there's any other questions, um, that you guys might have. I might just, um, throw a quick, you know, maybe some quick loops together. And just see, um if we can get, you know, see what this sounds like with actual music. So, um, yeah, I again, I just really hope you guys learn something out of this. I hope it's brought some value to you in your mixes. And hopefully, this will save you some time than having Teoh, you know, experiment with so many different things. Even though that is important. You should keep doing that. And that's how I got to where I am. Um, you know, I just hope that you've been able to take, you know, if you're more experience to take a different angle from this is Well, so Anyways, I hope you guys the best. I wish the best for all of your mixes, Um, And for your music endeavor. So we will catch you next time 10. BONUS INFO: Okay, guys. So before we listen to this and see how it turned out, Um, it's important that, you know, you know, this is my way of mixing drums. I'm using just a very basic in a minimal amount of plug ins as we've seen and learned today . But there are other. There are some important things that are very useful. So one, you know, plug in. So you want to go up here if your kind of thinking, You know, um, you didn't get maybe the snare sound that you were wanting, like a more you wanted more reverb or, um, there's certain things like, you know, the toms could have more of a echoey sound. That's why it's important to come in here and mess with some of these different plug ins. So, um, and you never know. You can, you know, as you experiment, what the's you can run into new ways of mixing and things that will just add to the sound that you're looking for. So, um, I know that you know the way that we did it, um, is just the very that's the way that I like mixing drums. The other important thing is panning. We didn't go over this too much. Um, that's basically when you're moving the sound of the file to the left or rights. Ah, you know, depending how much you move it to the left or right. Um, you're freeing up more frequency space and you're creating more of a in a live setting eso in drums. There's two different types of panning, so there's from the drummers perspective and then the audience perspective. So basically, if you're driving in her car and you're listening to a song and you hear the snare drum, the high Tom kind of on the lead towards the left side of the stereo, that's your hearing that in a drummer's perspective, you know, if that snare drum kind of sounds like it's on the right side, the high time on the right side. Um, you're hearing that from the audience perspective, so it just depends on how you want to do that. I recorded everything and ice around setting. So if I grab this and move this kind over here, the drums were gonna that snare drum, at least is going to pan in. You know that particular manner so you can go over here most of the time, it's gonna look like this, Like, over here. Surround. Hold command. Click it when I go here to this arrow. Um, let's do Ah, I'll put scream for um, basically, you can see this l laughed are right. So, you know, im s you know, I'm panning that as much Azzam wanting Teoh. But for in most cases, I'm just leaving this up the middle, you know, unless I'm working on my own song. Um, because most of the time I'm working for clients. And so also, another important thing is, if you're wanting to save this as a template, you know, so and, you know, for future references, if you're not wanting to mix, um, these drums all over again when you start a new project, you just go up to her to file, and then you'll just go to save as template, and then you can, you know, name it, whatever you want. And then when you open it, basically, you'll just do new from template. Um and it'll pull up like this is what it will look like. So don't close. So you can see that I've already had a few different mixes here. So, like if he mixed jazz drums or more of since this is a rock sounding kid, you know, I would create a new template, right, rock sounding kit. And then, um, if I want to, you know, if someone asked me to record something or I plan on recording, you know, 12 13 songs or whatever in an album, I can just go, you know, go to hear file new from template. It'll pull up these, you know, different templates that I have, and then you can choose. So that's just another thing that saves. You haven't even know about this before. I don't know why, but I used Teoh. You know, I have to mix everything from the beginning when I started a new session, Um and so that just helps you know this process out a lot, but these are important things that you'll want to know. So first, you know, experimenting with different plug ins, experimenting and in learning you'll want to learn from other people as well just what they do to get a more beefy snare or things like that that's important. And then, you know, getting into panning. So it's not very hard. It's just we just didn't really cover it as much. You're just moving, you know, your drums panting. I'm a little left and right just to see what kind of sound you want and things like that that allowed to your mix. So felt for their do you know, Let's jump in. Let's listen t you know how everything turned out, Um, and then we'll go from there.