Ahh, “warm.” The analog enthusiast’s favourite word. When a recording signal was pushed above 0db the signal started to become fuzzy or warm. The idea of saturation dates back to when audio engineers used analog reel to reel equipment.
#Cytomic the glue saturation how to
We dive into the world of compression in more detail in part one and part two or our compression series if you’re struggling with it or just fancy a few more suggestions on how to get the tone you’re after. Make sure to A/B the material you’re compressing to see if your compressor is actually making your drums sound better or just wasting CPU power.
Not every sound or sample will need compression, some will fit right into the mix without it (this is where sample selection/clean recording once again comes in to play.) Too little compression can make your mix sound boxy, too much can make it sound weak and dry. If it sounds right chances are it is right.
Like with anything audio related you need to trust your ears. As a result you’ll find yourself wanting to compress everything ever because compression is a magical thing that will instantly make your mixes sound perfect. If you’re new to music production and recording, compression is a term you’ll hear thrown around constantly. Cytomic’s The Glue (modelled after the SSL buss compressor) or Waves’ version or the famous API 2500 series buss compressor can both work wonders for a drum bus if used correctly. The other term we frequently come across when talking about drum compression is the idea of “glue compression” which does exactly that glues your drums together by taming or attenuating the overly loud sections while simultaneously increasing the presence of the softer drum hits. This allows for the initial transient of the drum hit to pass through the compressor so the tail is compressed or tightened before allowing the compressor to reset in good time for the next drum hit. The general rule of thumb for compressing drums is to set your compressor with a slow attack and a fast release. In the realm of drums and percussion one of the main uses is to “tighten” sounds. Compressors have an endless amount of uses. This is where it’s once again incredibly important to check your drums and percussion with the rest of the mix in order to make room for other elements and adjust your drums accordingly.Īh, the old chestnut that is compression. It’s important to note that by increasing one frequency band you’re essentially turning everything else down, so maintaining balance is important here.
Every different recording or sample of a drum hit will have its own fundamental (or most prominent) frequency that you will need to find and make room for in the mix. A subtle cut here can make all the difference but once again too much can make your mix sound weak. Typically the mud or ‘’boxiness’’ in drums lies around the 300-600hz region. Careful though, you don’t want to interfere with the frequencies being carried by the bass element of your mix. Need more weight in the bottom end? Try boosting anywhere from 50-200hz. Not too much however as being overly generous here can make your mix sound shrill and in some cases actually sound weaker. Need more shimmer on your drums? Try boosting the 7-15kHz region. Having said that, EQing is one big balancing act and really can be your friend or foe. EQ’s should really be used as a tool to add character where your drums need it or to take away frequencies that are clogging up your mix. This can become a tedious task but you’ll definitely thank yourself later.Īs we said before, you need to be sure you have a good starting point in the form of samples or recorded material that instantly compliment the mix. If you’re having to shoehorn your samples with drastic EQing and compression to get them to sit in the mix, perhaps it’s time to consider swapping out the sample or re recording the material with different techniques. However, it is imperative to constantly check your drums in the context of the rest of your mix. Perhaps the samples you pick or the material you’ve just recorded sounds great on their own which is a good starting point. This may sound silly or basic but it is still often overlooked when recording or producing a track. So where to start? We’ve compiled a list of a few ideas to get you thinking. Although they can be one of the most difficult aspects of a mix to get right, achieving a solid drum mix is undoubtedly the key to taking your productions to the next level. Not only are the drums going to provide your track with a rhythm section but having the drums mixed well will lay out a great foundation and can instantly bring your track to life. Mixing drums and percussion is one of the most crucial aspects of a mixing down a track.
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