Transcripts
1. Intro: Welcome everybody here in the dismisses sixth
studio and this course, I'll be sharing some techniques
that you could use to mix deck house drums to process them in a
way that's effective, interesting, and really,
really powerful. So let's waste no time. Let's jump right in, enjoyed this course, let's go.
2. What are we going to achieve?: So before we start, let's have a listen to
the before and after. Before has no additional
processing applied on the drums. So these are the
prediction stamps and the after is after all, the techniques we have
implemented from this course. And the difference
is really amazing. Let's take a listen to
the before and after. So to drums almost sound
completely different. They are actually
exactly the same sounds. And the processing is
the only difference between the before and
after is really amazing. It always needs to
make you want to move in these type of tracks.
3. Levelling: We're gonna build it
up from the start. And I'm going to take
you along and share with you everything that
I did to bring out all the goodness
and the drums. Let's first talk about
leveling things as the clap and the
Hyatt are really important to be
leveled exactly right? If the club is nice and loud, it works further as well and it will hit the
compressor on the mastering. And it's just very
good for the group, for the tightness of the track. Hired on the other hand, absolutely needs to be present. But if it's too loud, it can be hard and it can
really cause problems as well. So nothing crazy here. What I did is decreased
the hired by 0.5 dB and increase
declared by one dB. Let's listen to before
and after increasing it. It's really subtle, but
it's really important. And because this is
really about small steps, if you knew all
these little steps, eventually the thrombus
will come to life. Sound at big as slamming
and that's what we want and that's what we're
going to do in this course.
4. Hi-hat processing: Then let's go over the
higher processing. It's fairly simple. On the channel itself, is only an EQ. And what I did is got
out some unneeded. So frequencies. And I dealt with a
ringing point around. This frequency is dynamic EQ. So I'll show you what it does. Really subtle, but
really important. These things really
add up in yen.
5. Percussion processing: Next up, percussion. What I've done here
is take the filament. This is a really cool
dynamic EQ by waves. And what it does, it really adds some emphasis on the
mid and high myths. I will play it for you
and bypass the plugin. And then this is really a combination and I highly
advise you to come up with your own combinations of processes that you feel are really complementing each other. Here, what I did is use
dynamic EQ into saturation. And a set duration is
a setup like this. I am only accelerating
this band. So from about a 100
to about 2.5 gay, I will solo too bad for you now. So you can hear the bands that I am applying harmonics
do with Saturn two. And then what I did is
use it in mid sides and really appreciate almost
all the way to the myths. So this way, the
harmonics get only applied on the midst signal. Mostly it's not 100% duty meds, but it's almost 100%
and emits. This way. It's makes it hits you more in the face,
is super upfront. It's super centered. And this is really, really dope. Let me play it with the kick and the higher that
we just mixed. And then you can really
hear that this smacks, yeah, I love that, love how the snare
hits you as well. Super dirty. The way I use it is heavy
saturation in parallel, lots of drive and a
boost in the myths. This just brings out so much
dirt and really be set up.
6. Clap processing: Then let's go into the club. The club without processing
sounds like this. We're processing. You can hear it's a bit wider. What I did is which the entire sample with mode two of the ozone
anxiety or mode one, is utilizing the hazard effect, which means that it's copying the myth gentle and inject
it into the side channel. So it's really like using delay mode two is
actually creating fear, super complex noise, impulse
creator, creating harmonics. So it's sounding
a bit less facie and I think it's really high-quality way of
increasing stereo image. Then on the EQ, I did this. I will explain this. What I did is really
emphasize a lot of the club and a good out
some unnecessary subs. I did this as well on the myths. And on the myths, I boost it some precedence. So this creates a really quiet, interesting difference
between the sites and the mid signal. If I deactivate the procure, you can really tell that the stereo image gets
a lot less exciting. With Audi queue. Check it out. Say a super dope, superpower for
mid-side EQ is one of the most powerful tools we have and is important to
listen to the sides only, listen to the myths only. So you can really clearly
tell what's going on. But don't forget to listen to that and dire stereo images. Well, because if you listen
to the stereo signal, then you eventually can
tell if it sounds good. And yes, you can be really specific with monitoring
only the sides or the myths. But in the end, the person that will listen to the track on
Spotify doesn't hear that. So it's really important
to keep that perspective.
7. Shakers processing: Dan, let's go into the Shakers. They get really beefed up. And I applied a really
sort of bending as well. I will bleed before
and after bending. Super subtle. But it's
really important because it creates a some kind of more
interesting stereo image. And I do tend to not
really been a lot. But in case that you got to sounds that are
fairly similar, it can yield really
incredible ratios because it's simple. If you have the same type of sounds and you play
it all in the center, then yeah, it's fairly likely
that it will conflict. If you're just
spending a little bit, It's got to make
way for each other and increase your stereo image. Then saturation. I used the ozone
exciter in trial, moves a lot when my goal is
to make the sound difference. So if I just want to
highlight the sound, I tend to go for the center. And two, if I want to
beef up the sounds, I tend to go for
osha and exciter. I will before and after it
for you so you can hear that it's really dirty
up the shakers. And as well, you
will see that I have grouped the top loop and the Shakers because
that's on purpose. I want to give these elements the same treatment so that
they sound more like a whole. This is amazing to achieve
with bus processing. So that's why they are
going through the same bus. You can really hear it. They sound a lot dirtier. But after this one, I've put the grammar tape on the mastering soft clean
compression preset. This preset, this
really incredible. We goals. It's a way of really effectively
dirty ng sound and on shakers,
it works amazing. Let me just before and after both plugins for you
and the grammar tape, sounds way better with
these two logins applied.
8. Applying FX on send & returns: So before going into
the bus processing, Let's have a quick listen and see where we're
at right now. So it's already sounding cool. What I did to achieve even
more space and excitement. I've created two
buses here, a and B. Let me activate them and play
with it before and after. It's pretty cool. It's very subtle. But the biggest reason subtleties are important is because they add
up in the hands. They can turn a
trek into sounding five times better if you
combine it together. So let's first go
over the first bus. I created a blade refer, not extremely short decay time, a pre-delay time that felt
really good with this groove. Then an interesting
curve to not really have the super high-end and
the myths and the lows, a lot of presence here. And then I'm using a gate
with a side chain from the club to open it up
only when the club plays. That what I did is
I sent a bit of the entire drums, do this bus. So it only plays when the club hits because the
club triggers the gate. So I can play it for
you and you will see here on the gates
when it's open, when this orange thing
is all the way down, it's close to minus 41.1. And it's very subtle. So let me just during an overbid so you can
hear what it does. Sounds dog. I love it and
it's subtle but powerful. Then the second bus I only used to send a
bit of the club to. What I do is have a delay. This delay is pretty extreme, but it only plays at a low volume and its side chain to the
globe is not a gate. So this one duct
when the club plays. This way, it's not
interfering with the club. If it would interfere, the risk is that the club
isn't hitting as hard as it ruins that Soto ITS
and see what it does. So super dope, super subtle. I think no one will really
listen to this and say, well, that club definitely has a goal delay bus with
some side-chain going on. But as I'm mixing, a
mastering engineer doing ADR mixing and
mastering here every day. This processing is what gets me hide all the time because it just really is powerful and
effective if you are working, especially with takeoffs,
because in Tycho's drums are so important and they rarely need to grow and feel super full.
9. Drum group processing: Now exciting. We're going into
the bus processing. We're starting with
the glue compressor. This is really, really powerful. I have dial-in 64% to one ratio, 0.1 release point,
then attack and I'm adding about
ADB of makeup gain. And this would be glib. So it has some color to, this is really, really
powerful. Let me a B. So makes it slam so
hard, is really dog. Then going into
the standard club, what I do here is
add some saturation. We talked about
saturation earlier. And then at dogged about the
difference for me between the exciter and the
federal discern therein? Well, standard glib
as saturated as well, that falls into the
category Saturn for me because it's really
clean, saturation. It really doesn't change
the Fib of a sound, but it creates harmonics in
a way that it sounds fuller and really makes it hit
harder than we overdo it. And you will see what I mean. I'm also clipping a little
bit of the tops of this is just an overall fishing that I have mixing
and mastering. You don't want to let
the end limiter fix all your problems regarding error mes level and
all that stuff. You want to be
prepared for that. So you want to have died drums
in our diet cake, diabase, focal doesn't need to like hit super high at some point and super
low and another points. It all needs to be controls. So he can move forward and get an amazing
result in the ends. Then after that, I used neutron from 4.1 K and up Miguel's, this sounded like
most harsh region. And dialing back on the attack. And it's embarrassing are only 15% wasn't needed to achieve
the ritual that I want us. I will before and after
only this band for you. And I will play it into overall so you can
hear what's going on. Again, control the
important things. This is important because it makes the dub and
a bit more smooth and gets the highest transient to sound a little bit more
warm and less aggressive. It's important then to finalize
the numbers I have used. Mid-side EQ, boosting a beds
of the body of the drums. There we have it. We made
Diego's drums sounds from this. Sounding like this. Love mixing drums. They are very important
in this genre.
10. Assignment: Now it's time for
the assignment. I want you to have
a loop in your DAW. And in that loop
you need high ads, shakers, a clap,
some percussion, and you can put a kick. And their needs is, what you
need to do is play 16 bars without any processing than copy and paste your loop
into another 16 bars. And Derek, you go totally ham. It's not the point to create
drums for a specific mix. It's a point to
understand is how you can be creative
with mixing drums. How you can do crazy things, how you can combine processes to achieve
an unique sounds. Then in that 16 bars,
everything is active. So what I want you to do is
upload this and posted in this course and then tell me what you did
and why you did is, of course, you will
get feedback from me and you can get
feedback from each other. So to make it simple again, 16 bars without processing, 16 bars with
processing, combine it, export it, share it, and then we'll take
it from there. Hope that you all
enjoyed this course is a bit more in-depth
than the previous one. And I absolutely love
sharing this with you. See you in the next one and have a good mixing
session. Bye bye.
Bram Fidder, EDM Mixing & Mastering
