Great series of videos. You are every bit as good as a Brendan O'Brien, Andy Wallace, CLA/ TLA, etc. I had found your channel while searching for Andy Wallace's mixing techniques (big Andy fan ever since I kept on seeing his name pop up on what was probably every second or third cassette that I would buy back in the early 90's), and I love your sense of exploration. You have your go to plugins and settings, but are always looking to experiment with something that might work a bit better, and I admire your musicality in the sense that you're listening for the harmonics and spaces within the notes, rather than just putting the same plugins or settings on each part. Jack Joseph Puig is a big believer in those things contributing to a better sense of serving each song, and it was something that stuck with me ever since.
Thanks so much for making these most excellent and interesting videos! I really enjoyed listening to how the different compressors worked on the drums. Each one definitely has its own color it adds. Recently watched a 3 hour interview with Brendan which was fascinating. Listened to some of his mixes and holy crap, he gets some big sounds, so I’m really enjoying this series on Mr O’Brien. All the best to you and thanks again for taking the time to make these videos.
Loving these videos! You give great info and straight to the point. I’ve been seeing your subscribers rise every week and selfishly don’t want to see that being you are a hidden gem when it comes to mix tutorials! But I do wish you the best. Keep up the great work and if you’re ever coming to Daytona Beach let me know. I would want to treat you to a dinner, beer, or both the education you’re providing. Thanks JP
Awesome, as always! A technique I don’t recall ever seeing before to make almost any compressor the most explosive room or parallel comp involves a gate a transient designer. I do this inside Console 1, so it’s a bit smoother (the Shape section has gate and td in one section). The Shape into the Comp. Get your compressor slamming (I prefer the Zener-Bender in Limit mode…could also be achieved with Waves TG12345 channel…cheap enough option). Add some punch to prevent the transients from getting so smeared. Then control the amount of explosiveness with the gate. It’s a sound I could listen to on a drum bus all day. Mix in 30% and 👌🏻
Thanks for the video. I’m always curious to see what others use and think works best for certain tracks. I’ve got most of the Kiive stuff and find the Complexx an outstanding plugin for all kinds of drum applications. It was the one for me on those room mics. Cheers,
My guy, this is absolutely amazing stuff you've been posting as of late. Really great breakdown of Brendan's approach to room compression, which as you said, is a big part of his drum sound. With that in mind, I would love it if you could comment on how these room mic positions were setup during tracking. For both the stereo and FOK positions. How far from kit, how spaced apart the stereos are, how close to walls they were. Nulling out the kit? How far out from the kit was the FOK, how far from the ground? Anything, I'm sure, would help us nerd out even deeper in the best way possible and help folks nail that sound even better! Cheers.
Thanks for the kind words! I dont have the mic'ing info unfortunately, didnt track this kit myself... just went thru some multitracks to find one that worked best for this example. I might do a full course on drum tracking in the near future if this account keeps getting views!
@@JPHenryAudio cool, can def understand if you didn't track it. That said, would love to hear some of your own 'go tos' for stereo and mono micing in your own room, or from what you've heard from the grapevine (or both!). By comment, or in a future vid, whichever you're feeling. Thanks for all the great posts.
Man this is almost my hardware compressor rack! I tend to use the 1178 on room mics, the audioscape D Comp on the drum shells, and kick and snare go in between 1176F, Distressor EL8X, or dbx 160
Was ready to say that I liked the 1178 best, then you busted out the Neve at the end. Question - which compressor did you settle on for the stereo room at the end when the full mix came in?
Enjoying your channel and good to hear the 90's onwards approach to drums and mixing. You are better than me but I feel your drums are a bit overcooked in the mix causing them to feel a bit separated from the rest of the mix but that's easier to fix than crappy drums. Brendans sounded fairly clean but powerful. I always thought Brendan was overlooked as one of the greats and glad to see him getting a bit of attention.
I don’t understand why I would use any other kind of compression other Shan slow attack quick release it just makes everything bigger. Obviously facing problems in the mix because of this partially I’m sure, I feel like you would have the best explanation. Just an idea . Anyway ur the greatest thing to ever come to youtube lowkey
Thanks!! All depends on your overall kit balance... if you're getting enough transient attack & impact from the close mics, then you might want to use a fast attack on the room to minimize that, and a longer release to bring out the decay & ambience. If you're trying to pull more transient attack from your room mics, then yes a slower attack and faster release will likely be best.
the meters got weird with Brit mode engaged, i think it's a glitch... it was calibrated to the same levels as the 1178 & 1176, and audibly was doing the same thing as them, even if the display didnt show it.
loving these videos. think i've learned more from these videos in the last few months, than the previous couple of years of youtube videos
thanks so much!!
for real like exposing so many people for giving way too general mixing advice lo
Quickly becoming my favorite TH-camr
Thanks so much!
Great series of videos. You are every bit as good as a Brendan O'Brien, Andy Wallace, CLA/ TLA, etc. I had found your channel while searching for Andy Wallace's mixing techniques (big Andy fan ever since I kept on seeing his name pop up on what was probably every second or third cassette that I would buy back in the early 90's), and I love your sense of exploration. You have your go to plugins and settings, but are always looking to experiment with something that might work a bit better, and I admire your musicality in the sense that you're listening for the harmonics and spaces within the notes, rather than just putting the same plugins or settings on each part. Jack Joseph Puig is a big believer in those things contributing to a better sense of serving each song, and it was something that stuck with me ever since.
Thanks man, appreciate the kind words! That’s some high praise, I’m very flattered.
Dude loving your videos! The Pulsar 1178 and the Complexx sound sick for that over the top thing, they handle it really good
Makes me so happy when i see a new vid of yours in the recommandations !
Awesome!!
Thanks so much for making these most excellent and interesting videos! I really enjoyed listening to how the different compressors worked on the drums. Each one definitely has its own color it adds. Recently watched a 3 hour interview with Brendan which was fascinating. Listened to some of his mixes and holy crap, he gets some big sounds, so I’m really enjoying this series on Mr O’Brien. All the best to you and thanks again for taking the time to make these videos.
Thanks man! He's truly a legend.
Thanks! Been too busy to catch up with the latest videos.. but gonna do asap, keep going JP
Thanks man, appreciate it!
Loving these videos! You give great info and straight to the point. I’ve been seeing your subscribers rise every week and selfishly don’t want to see that being you are a hidden gem when it comes to mix tutorials! But I do wish you the best. Keep up the great work and if you’re ever coming to Daytona Beach let me know. I would want to treat you to a dinner, beer, or both the education you’re providing.
Thanks JP
haha I might just take you up on that offer!! Cheers!
Awesome, as always!
A technique I don’t recall ever seeing before to make almost any compressor the most explosive room or parallel comp involves a gate a transient designer.
I do this inside Console 1, so it’s a bit smoother (the Shape section has gate and td in one section).
The Shape into the Comp. Get your compressor slamming (I prefer the Zener-Bender in Limit mode…could also be achieved with Waves TG12345 channel…cheap enough option). Add some punch to prevent the transients from getting so smeared. Then control the amount of explosiveness with the gate.
It’s a sound I could listen to on a drum bus all day. Mix in 30% and 👌🏻
Nice, i'll give that a try sometime! Thanks for sharing
amazing for all videos thank you !!!!!
Thanks for watching!
Thanks for the video. I’m always curious to see what others use and think works best for certain tracks. I’ve got most of the Kiive stuff and find the Complexx an outstanding plugin for all kinds of drum applications. It was the one for me on those room mics. Cheers,
My guy, this is absolutely amazing stuff you've been posting as of late. Really great breakdown of Brendan's approach to room compression, which as you said, is a big part of his drum sound. With that in mind, I would love it if you could comment on how these room mic positions were setup during tracking. For both the stereo and FOK positions. How far from kit, how spaced apart the stereos are, how close to walls they were. Nulling out the kit? How far out from the kit was the FOK, how far from the ground?
Anything, I'm sure, would help us nerd out even deeper in the best way possible and help folks nail that sound even better! Cheers.
Thanks for the kind words! I dont have the mic'ing info unfortunately, didnt track this kit myself... just went thru some multitracks to find one that worked best for this example. I might do a full course on drum tracking in the near future if this account keeps getting views!
@@JPHenryAudio cool, can def understand if you didn't track it. That said, would love to hear some of your own 'go tos' for stereo and mono micing in your own room, or from what you've heard from the grapevine (or both!). By comment, or in a future vid, whichever you're feeling.
Thanks for all the great posts.
hell yeah man, the BF660! That thing is super useful
the classics never die!!
@@JPHenryAudio dude! Those are VINTAGE BF660s!
Even though I’m listening on TH-cam on my TV with adequate wireless headphones, my ears agree with what you’re hearing
Pulsar 1178 is always on my rooms
its pretty great!!
Yeah! The Pulsar 1178 and the old Bomb Factory quasi-660 were the ones that actually worked best for me.
Man this is almost my hardware compressor rack! I tend to use the 1178 on room mics, the audioscape D Comp on the drum shells, and kick and snare go in between 1176F, Distressor EL8X, or dbx 160
Very nice!! The Audioscape hardware units look fantastic
Was ready to say that I liked the 1178 best, then you busted out the Neve at the end.
Question - which compressor did you settle on for the stereo room at the end when the full mix came in?
I switched back to the Complexx when I blended the stereo & mono together! works really well along with the 660 on the Mono.
@@JPHenryAudio Cool. Thank you of answering. The drums sound fantastic!
Enjoying your channel and good to hear the 90's onwards approach to drums and mixing.
You are better than me but I feel your drums are a bit overcooked in the mix causing them to feel a bit separated from the rest of the mix but that's easier to fix than crappy drums. Brendans sounded fairly clean but powerful. I always thought Brendan was overlooked as one of the greats and glad to see him getting a bit of attention.
I don’t understand why I would use any other kind of compression other Shan slow attack quick release it just makes everything bigger. Obviously facing problems in the mix because of this partially I’m sure, I feel like you would have the best explanation. Just an idea . Anyway ur the greatest thing to ever come to youtube lowkey
Thanks!! All depends on your overall kit balance... if you're getting enough transient attack & impact from the close mics, then you might want to use a fast attack on the room to minimize that, and a longer release to bring out the decay & ambience. If you're trying to pull more transient attack from your room mics, then yes a slower attack and faster release will likely be best.
I think you needed to push the input of the distressor a bit.
the meters got weird with Brit mode engaged, i think it's a glitch... it was calibrated to the same levels as the 1178 & 1176, and audibly was doing the same thing as them, even if the display didnt show it.
@@JPHenryAudio fair enough it just helps the dist 3 when you push level.
compex is fun