Mixing Drums in 30 Minutes - Webinar with Yoad Nevo
ฝัง
- เผยแพร่เมื่อ 26 พ.ค. 2014
- Renaissance Maxx: www.waves.com/bundles/renaissa...
OneKnob: www.waves.com/bundles/oneknob-...
High-quality mixing can be easy and simple. Watch this webinar with producer/engineer Yoad Nevo (Bryan Adams, Jem, Pet Shop Boys, Sugababes) and learn how to mix your drums using only Waves' Renaissance Maxx and OneKnob bundles. - เพลง
![How to MIX DRUMS [START TO FINISH] - with Waves Plugins!!!](/img/n.gif)
Yoad is the only one I have ever seen on the internet going into depth, giving us real tricks and knowledge.
This is one rare very good tutorial about drum mixing.
i reference this whenever im doubting my confidence. great tips tightly packed into one place . thank you
great to see Nevo using all other plugins but his. great tips and great tutorial
Some great tips in there, much appreciated!
Suggestions: Maybe you could place One Knob Louder, and some EQ on the vocal track of the video production? Yoad speaks very softly and it would be easier to understand IMO with some clarity.
My two huge takeaways: put kick and snare in phase with overheads, and watch intra-plugin clipping. I have made that mistake and had no idea what it was. Now I know. I had just removed all plugins and started over. But now I get it. Its hard to be 1/2 deaf. I'm kidding. lol. Your videos are gold. Thank you.
I got all the way to 25 minutes before realizing he was using an older version of Logic and not some other DAW! Wild.
Very interesting stuff here. The last little steps where huge!!
Thanks for the great tips!
00:29 Before, 30:33 After
Awesome recording
great video, thanks!
Awesome tips man!!
He does that because it allows him to process the snare more freely without worrying about the bleed from the othetr drums. He can then easily regain them by blending in the snare bottom mic which he did
great tips
Helps when the drums already sound great.
amazing
it's good to see renaissance channel getting some love from yoad in these videos (not like he has a choice but to go with waves) but I REALLY like the channel strip idea, really like the renaissance series, feel like it's still relevant even in 2014 and even though I have many other plugins that I would go to first, I still think the renaissance strip is one of the better channel strips when it comes to value...on sale, you can get the whole fucking bundle for $150 and the strip alone sounds more expensive than that
thank you)
Even though Yoad probably won't see this, I feel it is worth mentioning he's gating out the ghost notes on the snare - why on earth would one do that?
Probably because between the overhead and room mics he felt he got enough of the the ghost hits after compression. This also allowed for him to get a much stronger snare hit than he would have otherwise. Thats my assumption at least...
HammerTheAlchemist But in the end it sounded more like two instruments and not one snare with some great ghost strokes for me :/
cause the lower mic kept the ghost notes
+FelixSchlegelMusic Good sentences never start with "But"s, my friend...
dope
Great video! But I have doubts about edit the drums bleeds , I found me cuting one by one my kicks hits and i don't know if it is necessary. I need and advice. thanks
Hey. You are great! Which waves plug in you recommended to use instead of OneKnob louder for Hats ?
So, when using the gate on the kick, you are allowing a little bit of the snare to remain, right?
These are very good tutorials.
Sometimes a little bleed helps glue tracks together
And it sounds more natural and better overall
At 26:50, that's where it went crazy. After all the Compression and EQ, Yoad replaces the kick with samples triggered within Logic's MIDI by simply using transient detector. Done deal.
🎼✨✨
I need Your little Desk :-)
Mouth noises for the win 👌🏼
Anyone know what this software is?
what is the next stage
Im trying to figure out why he didn't fix the timing issue in the snare tracks
I think it's because the difference is too short to be audible and actually could help with phasing issues
But it is very audible which is how I heard it. Its about 15-20 milliseconds off
Then probably because it's a 30 minute video mainly about waves plugins:)
Because it’s the natural delay
Which DAW is that?
why do you gate the ghost notes of the snare? i don't like that.
They’re still in the O/Hs 👍
should i add rchannel mono or stereo?
+StevE12455 obviously depends on whether you are putting it on a mono or stereo track...
He gated the snare and took off the ghost notes in the way... ha ha
They're still in the other mics though :D
the overheads are too bright to me
so whats the next stage ???
well my friend, if you want to mix like a pro, you need to invest some money, simple as that !
i have no idea my friend, all i know is that we are all here because we want to learn and get better.
Drummer was probably inspired by RHCP Naked in the Rain
Both Snare Tracks are not in Phase, as you can see. Why not simply move one track, to get it in phase?
And the overheads are NOT right recorded. The Snare isn´t in the middle
It doesn't _necessarily_ always sound better with the snare in phase. The snare sounded pretty decent as it was. Putting it in phase may of made it worse.
There is no such thing is a "right" way to record something. _You_ may like the snare in the middle on the overheads but that doesn't mean everybody does. It is a personal choice.
Having the snare away from the middle gives the snare a bigger stereo image when blended in with the closed-mic'd snare. I personally like this.
Most recordings I have dealt with, the snare is always slightly off-center in the stereo image because engineers usually position the overheads to align the kick in the middle - leaving the snare slightly to the right or left. That's the case here. The kick is in the middle on the overheads leaving the snare slightly towards the left.
Positioning the overheads so the snare aligns in the middle will leave the kick off-center. When you blur the image of the low-end, the stereo image sounds terrible. Having a kick drum off-center on the overheads is worse than having the snare off-center. But this is to me - and a lot of others. This doesn't mean I am right or that you are wrong or vice versa. We just have our different ways of doing things to suit our own subjective taste.
But to suggest that there is a "right" and "wrong" way to do things is amateurish.
moving a track forward will never put it back in phase. if you want to change the phase you have to switch the phase with a plug in.
Andres Mejia Moving a track back and forth (in time) will change the initial angle of a waveform function at its origin (0°) and is sometimes called "phase offset" or "phase difference" - which is by definition what we refer to as "phase".
So yes! We _can_ change the phase of an audio track simply by moving the audio track back and forth - this is technically referred to as "phase shifting". And therefore we _can_ align the phase of two signals together by moving one of those signals back and forth.
We once had to use such a tool at University when we used two mic's to record an amp (one close up and 1 about a metre away). Clearly, we had to use the phase tool on one of the mic's, and depending on which one, we would either shift the signal backwards (if we were effecting the mic further away since this signal would have been delayed to the closer mic), or delay the signal forwards (if we were effecting the mic closer up since the audio source would of arrived at this mic sooner than the mic further away). This is therefore changing the phase relationship of the two different audio signals in order to align them more efficiently.
We shift the phase from the reference point (0°). Another way to think of _phase_, although it is not technically correct, is _time_. Changing the time of a signal, relative to another changes the "phase" of that signal relative to the other signal. Think of when you delay a signal by a few milliseconds... what you get is what is called "phasing" because you have shifted the phase of your delayed signal relative to the direct one causing "phase cancellation", which _can_, but not always, result in "comb-filtering"; this is due to specific frequency cancellation that causes a series of peaks and troughs throughout the frequency spectrum - hence the term "comb".
Furthermore, what you are actually referring to is _inverting_ the polarity or sometimes simply called "phase switch". This completely flips the phase by 180°. What we mean by "in-phase" is when the position of the two waveforms, as described in degrees, align/correlate with each other. Sometimes we may only want a 45° phase shift forward of one signal to align the phase of this signal with another. So using the phase invert switch won't actually make the two signals in-phase with each other. This is when we have to use "phase-shifting" which simply means shifting the signal back or forth in time (we are talking milliseconds).
I understand it I have A degree in Audio Production what I mean it's means I just made an easy responses. BTW Polarity and Phase are related but not the same. If you change the polarity on two identical tracks they will completely cancel each other out but if you just delay a signal by 180 degrees you are going to get more of a phase issue. that is what i was getting to.
Andres Mejia
*"Polarity and Phase are related but not the same"*
In the context of electronics they are not the same. When talking about the polarity of microphones, for example, we are talking about positive and negative voltages - which has nothing to do with phase. This is electrical polarity. But when talking about audio engineering i.e. sound waves, the polarity and phase _are_ the same thing. This is a fact. So yes, in this context, polarity and phase _is_ actually the same thing.
*"If you change the polarity on two identical tracks they will completely cancel each other out but if you just delay a signal by 180 degrees you are going to get more of a phase issue."*
With all due respect, this is actually a rather foolish statement. First of all, you don't _delay a track by 180°_. You delay a track by a particular amount of milliseconds/seconds/minutes etc. which _can_ result in the delayed signal being 180° out of phase with the original (which is by the definition what we refer to as "phase cancellation" i.e. complete silence).
Secondly, you are right that flipping the polarity of an exact copy of a signal will result in _phase cancellation_ (which is by the definition out of phase by 180°) but if you delay a duplicate signal to the point at which it becomes 180° out of phase with the original, by the definition it results in _phase cancellation_ (the exact same thing). That is what phase cancellation _is_. You cannot possibly have an identical copied signal out of phase by 180° (whether it was caused by flipping the polarity or delaying the signal is irrelevant) with the original signal _not_ result in phase cancellation. To be "out of phase" or "to phase cancel" means to be 180° out of phase. So you are wrong.
Having a "phase issue" can mean anything from the signal being out of phase by 1° to 179° and from 181° to 359°. But "phase cancellation" means when it is out of phase by 180° (which will result in complete silence). So if the delayed duplicated signal is 180° out of phase, by the definition this is what phase cancellation is (i.e. complete silence).
I have to say, for someone who supposedly has a degree in audio production, you have been very inaccurate in your comments here.
So confused
But, what if it's a lefty drummer? HA!
Great way to lose all your dynamics...
How you gonna talk about production value in an inaudibly muffled voice? Kind of undercuts your legitimacy right out of the gate, wouldn't you say?
Frustrating, as he continually talks over the sound of the drums so you can't hear what he's actually doing....
Oisín O'Regan at this point you should know every single thing of what he is talking about to understand. know about eq, compression, gates if you don’t know that very well then you need to fine videos about all that one by one
What has your reply got to do with what I said...? Also where did I say that I was having trouble understanding the basics of mixing?? He talks over the drums instead of letting you hear the difference in the sound of the before and after.
He’s showing some of his techniques bro, if you want to hear the difference you have to practice your self doing what’s his doing maybe if you open a session and practice, he is even telling exactly parameters if you don’t have those plugins!!
What a grate teaching by the way
Willie M. Cruz First of all, my comment should be viewed more as constructive criticism than a negative slate on the video as a whole. Second of all, If I wanted a list of parameters and techniques I'd read them from a book. I would like to hear the difference his work is making. Third of all, you 'grate' on my nerves and this video is 'great'. Mic Drop.
Oisín O'Regan well well well how bout a new pair of ears? Because I clearly hear when he is moving the gate and eq jejeje come on don’t tell me you don’t hear any difference
You guys should do these videos with hip hop sampled mpc drums, because those drums sound terrible to begin with.... Not anything anyone would want to listen to or create... I want to see this guy do something to some completely vinyl sampled mpc 60 drums....
It's kinda pointless to have this video when the drums sounds fantastic before he does ANYTHING at all.