We’ve gated the input, so that we only get reverb when the toms hit. Let’s listen to what the reverb sounds like solo’d, and then again in the context of the mix. Here are five scenarios where tuning drum samples will greatly improve the quality of your mix. The more vocal tracks you add, the more frequencies overlap and the harder it is to hear everything. This gives us a bit of space without elongating the pre-delay, which might complicate the groove. So I’m not going to waste any time with it. In the first part of the clip, the cutoff frequency is set too high and the bass is overly bright, which distracts from its rhythmic function. This can add dimensionality to the reverb not otherwise attainable. Too many stacks will cramp your mix and end up costing you precious headroom and dynamics. Learn how to use the free iZotope Vinyl plug-in for genres like hip-hop, pop, electronic, and rock. Our drums aren’t suddenly in a huge cavernous space, that’s not what this article is about. Learn how reference tracks impact a mix, decade by decade. Next, we put a bandpass on the early reflections to kill some mud, because we want the early reflections to reflect more of the crack here. Yes, it’s a dangerous practice. When it comes to drums, this is going to be the most obviously-heard reverb in your mix. If we think about the way we perceive sounds in our daily lives, the further away something is from us, the less bright and less loud it is. It will intelligently analyze your audio and suggest a setting that gives you the cleanest possible signal. Now let’s add a gate after the reverb, so that we can add a suddenness to the ending of the reverb. So we’ll do that here with NIMBUS. Do not spend more than one extra second on a snare reverb you don’t like. First, send the snare to a bus. To stress the importance of restraint in filtering, listen to the following example, where I have a synth bass running alongside a drum loop. With just a single parameter, low pass filters give us a great deal of creative and corrective control over our mixes. If what you like about a synth track is going on in the mid-range, turn down those highs so the vocals come through more easily. Most importantly, we’ve turned the blend down to 9%. This isn’t pre-delay here—instead, you should feed the reverb with a normal snare signal and a little bit of delay; it’s a combination. Put up the wrong snare sound and it always sounds tacked on. In physical terms, signal and noise are not separate components of an audio signal. Take a look at the screenshot below for reference—the blue bounds provide a rough guideline for where your music should fall at various points in the spectrum, and the white lines reflect how your music compares. Indeed, in cases where we use reverb as inserts, the difference of 1% or 2% on the wet/dry balance has a drastic impact. EQing and compressing a snare is a big part of getting a good drum sound, so you want to practice the techniques we mention in this post. Observe: That’s a tom fill in our track. Whether you’re making electronic music or hip hop, crafting a deep, booming kick drum is fundamental. We’ve emphasized the shimmer of the cymbals without tilting the EQ into harsh territory. Your drums sound narrow, dry, and small. Learn more about RX 7: Mix depth allows us to perceive a sense of physical distance between the front and back of the soundstage. The bottom mic and topmic. Taylor it with a gate and you can have a very natural sounding iso. We mostly use 2 microphones on the snare drum.