►► Multitrack Download w/ Mixing Cheatsheet & Tutorials → Get FREE access to the Crisp & Clear Heavy Mix Formula HERE: frightboxrecordingacademy.com/heavy-mix-formula/
Thanks Bobby. I almost never use drum bus compression on the insert. I hate the sound of it. Always go parallel now or without parallel, with exaggerated transient (slow attack fast release) and or less transient (fast attack and fast release). Usually the parallel compression is added after the other track is mix to balance and make the drums cut through more
I use parallel compression. When i solo that track, you can hardly hear it. But when i switch it on and off, you can really hear the difference. It's a great trick for when your kick, snare and toms are drowning in the mix
Quick question. I've never seen anyone use an SSL for parallel compression in heavier mixes. It seems that most people tend to use something like a distressor for this. I actually love the SSL for glue compression, but how do you feel about things like the Distressor in comparison to the SSL?
I send my shells and cymbals to parallel compression tracks before they hit the drum bus and put slight ssl compression and eq on the drum bus, i keep the rooms/reverbs and the parallel compression tracks outside of the drum bus too
I am a beginner, but I picked up a tip from a metal mixer about a plugin called Drumforge from Drumflex. I use it on my drum bus and it adds a lot of punch and attack.
Great video! Usually the way I mix drums depends on the overall style of the song/material but, in general, in the "nu metal/...core era" parallel compression was in ultimate demand then the hipster fashion brought it back to the "natural" sound (sometimes had to record with 2-4 mics only) and now it started to slowly crawl back to the parallel. But that's just my personal experience/luck...
Such good video. Recently parallel compression helped me achieve the sound I was looking for, where the style of the song in my opinion demanded. The next songs probably will be good to use something different
All very helpful! You've probably covered this but got any tips for helping stop a snare poking way out of a mix? But while preserving the smack and weight of it? I either get it too weak or its like 5 db louder than the rest of my mix 😂
He's covered it before in another drum video. He said to use a clipper plugin to shave off the transients so you can still get that weight without it being so spiky. Saturation plugins work well too. Hope this helps
You can also try Nolly’s mix bus compression trick… he talks about it in the smash and grab masterclass video he put out a few years ago. Basically he has a mega fast attack and release on the mix bus that has a HPF side chain that causes the snare to hit the compressor at about 3 dB so it ducks the mix for a split second and the HPF is so that the kick doesn’t blast the compressor and cause pumping. I’ve been doing that on all genres that I mix and it works like a charm to achieve what you’re asking about
Great great video Bobby! I really love it! Great job! I record and mixing my own music (thrash metal/heavy metal) with a programmed drums. I usually use a compressor in my sub mix with a 2 db of compression and another one with 6 db of compression on my parallel compression. But "I not able" to have the nice compress sound I searching for... For you,what's wrong or what I can do? Thanks for all Bobby! Alessandro from Italy
@@FrightboxRecording So it is! Somehow I managed to completely miss it… I do apologise. I did go and search for the video after watching this, and I actually loved one of your opening statements about “it’s not about how you get there, it’s about the end result”. That’s beyond true! And when you look at what artist’s like Billie Eilish & Finneas have achieved in terms of exposure and sales, it say’s it all! It’s a different kind of music to what we’re hearing here, granted, but I use them as a good example for not needing incredible equipment, a fully treated studio, etc… I’m definitely gonna have to check out a few more video’s from you!
►► Multitrack Download w/ Mixing Cheatsheet & Tutorials → Get FREE access to the Crisp & Clear Heavy Mix Formula HERE: frightboxrecordingacademy.com/heavy-mix-formula/
Psh I just found you by accident, how the hell do you not have more exposure? 😤
Thanks Bobby.
I almost never use drum bus compression on the insert.
I hate the sound of it.
Always go parallel now or without parallel, with exaggerated transient (slow attack fast release) and or less transient (fast attack and fast release).
Usually the parallel compression is added after the other track is mix to balance and make the drums cut through more
I use parallel compression. When i solo that track, you can hardly hear it. But when i switch it on and off, you can really hear the difference. It's a great trick for when your kick, snare and toms are drowning in the mix
Quick question. I've never seen anyone use an SSL for parallel compression in heavier mixes. It seems that most people tend to use something like a distressor for this. I actually love the SSL for glue compression, but how do you feel about things like the Distressor in comparison to the SSL?
Completely loved King Kelly and thank you for turning me on to them. Instant fan. Cheers !
I send my shells and cymbals to parallel compression tracks before they hit the drum bus and put slight ssl compression and eq on the drum bus, i keep the rooms/reverbs and the parallel compression tracks outside of the drum bus too
I am a beginner, but I picked up a tip from a metal mixer about a plugin called Drumforge from Drumflex. I use it on my drum bus and it adds a lot of punch and attack.
Holy crap that second band was BADASS!!!!!
great video, personally I use a combination of all 3 depending on the song and sound I'm after
Great video! Usually the way I mix drums depends on the overall style of the song/material but, in general, in the "nu metal/...core era" parallel compression was in ultimate demand then the hipster fashion brought it back to the "natural" sound (sometimes had to record with 2-4 mics only) and now it started to slowly crawl back to the parallel. But that's just my personal experience/luck...
Man... You are getting gooooood bruv!!!
Very useful techniques!
Such good video. Recently parallel compression helped me achieve the sound I was looking for, where the style of the song in my opinion demanded. The next songs probably will be good to use something different
Great video as always. Thank you for the tips.
BTW the bass in the second example has a perfect sound. How did you get that?
Anytime! I shared the exact process for that recording in this video: th-cam.com/video/h6kljoQGA-g/w-d-xo.html
@@FrightboxRecording
I will study it
All very helpful!
You've probably covered this but got any tips for helping stop a snare poking way out of a mix? But while preserving the smack and weight of it?
I either get it too weak or its like 5 db louder than the rest of my mix 😂
He's covered it before in another drum video. He said to use a clipper plugin to shave off the transients so you can still get that weight without it being so spiky. Saturation plugins work well too. Hope this helps
@@300Spartan03 Spot on man!
You can also try Nolly’s mix bus compression trick… he talks about it in the smash and grab masterclass video he put out a few years ago. Basically he has a mega fast attack and release on the mix bus that has a HPF side chain that causes the snare to hit the compressor at about 3 dB so it ducks the mix for a split second and the HPF is so that the kick doesn’t blast the compressor and cause pumping. I’ve been doing that on all genres that I mix and it works like a charm to achieve what you’re asking about
Great great video Bobby! I really love it! Great job! I record and mixing my own music (thrash metal/heavy metal) with a programmed drums. I usually use a compressor in my sub mix with a 2 db of compression and another one with 6 db of compression on my parallel compression. But "I not able" to have the nice compress sound I searching for... For you,what's wrong or what I can do?
Thanks for all Bobby!
Alessandro from Italy
Send me a mix of yours to check out: bobby@frightboxrecordingacademy.com
Yo this song slaps. I went throught your course and I can't find it anywhere. Where can I download the song?
Which song in the video are you referring to and which Frightbox course are you a member of? Let me know!
Jepp and Ramona ain't gunna make it. And I'm on the polished mix anywhere course
@@ajdejesus shoot me an email at bobby@frightboxrecordingacademy.com and I'll hook you up!
So, do you use compression on the individual drums when using (parallel) bus compression ? Like toms, snare and kick?
Yes! Aways.
Muy bueno
Second band sounded bad ass
those playing clip, must be spent some time on it :eyes:
Went to the description for the link, no link… Ight, I guess I’m not watching it then
All links mentioned in the video are, indeed, in the video's description.
@@FrightboxRecording So it is! Somehow I managed to completely miss it… I do apologise.
I did go and search for the video after watching this, and I actually loved one of your opening statements about “it’s not about how you get there, it’s about the end result”. That’s beyond true! And when you look at what artist’s like Billie Eilish & Finneas have achieved in terms of exposure and sales, it say’s it all! It’s a different kind of music to what we’re hearing here, granted, but I use them as a good example for not needing incredible equipment, a fully treated studio, etc…
I’m definitely gonna have to check out a few more video’s from you!