During the recording workshop last weekend, I learned two cool new things.

One has to do with mixing drums.

The other has to do with my mindset when it comes to mixing.

I explain both in today’s video. Watch it here:

  • Bertrand

    Hi Joe, there is another way of doing this which i like best because i can select which tracks to send to parallel (like Grahams approach) but in addition the signal of the individual track follows the track fader. Using send pre-fader ignores later changes and may mess up the balance between tracks

    I do this by sending the desired tracks to an additional output by holding control and then assign the second bus (drum comp) to the track(s). A plus sign appears to indicate the track is sent to multiple outputs. So for example the kick is sent to the drum sub aux track and additionally to the drum comp aux track to be parallel compressed. What do you think about this method?

    Regards
    Bertrand

    • Yep. That’s a great way to do it too. Since this is for dramatic effect and heavy compression, those subtle changes in volume won’t really make a difference…in my opinion.

  • Sal

    Great tip! I definately prefer this type of parallel compression than just smashing the entire kit.  It also gives you more options.  I sometimes add the toms in with the kick and snare depending on the song.

    • Yep, Toms would make a lot of sense. This particular song had no toms. 🙂

  • Cporro

    good idea. i can see how pumping would be more apparent on long sustained sounds like cymbals.

    • Yeah, definitely opens up a lot of different tonal options.