From the course: Audio Mixing Master Class
Make your drums fills more dynamic - Pro Tools Tutorial
From the course: Audio Mixing Master Class
Make your drums fills more dynamic
- [Instructor] The drums are the heartbeat of the song, but sometimes they need a little help lifting the song's intensity in just the right places. Here's an automation trick that I call the Dynamic Drum Fills trick. It's going to help the feel of a track without the listener even knowing why. So the first thing we'll do is we'll listen to the song and it's right at the end of the first verse going into the chorus. And listen to the drum fill and what happens. ("Every Day Is A Gift" by Patricia Bahia) That sounded okay, but we can actually make this sound a whole lot better and a lot more exciting. And the first thing I'm going to do is zoom in here and this is the subgroup for the drums. And there's a lot of drum tracks here, but this is the subgroup and everything runs through it. And this is what we're going to automate. So the first thing I'm going to do is put my automation in to Touch. And what this means is, the automation only kicks in when I touch the fader. Then when I release the touch on the fader the automation stops. So here we go, now watch when I automate this. ("Every Day Is A Gift" by Patricia Bahia) 'Kay, let's listen. ("Every Day Is A Gift" by Patricia Bahia) Now you can hear, that's a lot more exciting. Let's listen to the first one. Turn the automation off, and let me zoom out. Again, this is the fader right here. This is without the automation. ("Every Day Is A Gift" by Patricia Bahia) And here's with the automation on. ("Every Day Is A Gift" by Patricia Bahia) And you can hear, that's a lot more exciting. Because, not only do we hear the drum fill a whole lot better, but we also just get the feel of intensity. The intensity rises there, and that's just what we want. To summarize, the Dynamic Drum Fills trick, first thing is to find the sections in the song that you think need to be emphasized. These can be drum fills, they could be accents, or they can be down beats of a section. The next thing is to group the drums or add a subgroup. That means if you're grouping them, just one fader is going to control all the faders in the group and if it's a subgroup it's a separate subgroup that you could EQ separately, you can add compression and processing, whatever. Now, just remember that it doesn't only have to be the drums. You could add the bass in there as well or any other parts that you need. And in fact, this doesn't have to be the drums, it could be just certain parts that need to be emphasized. The next this is to place the automation in Touch mode. Touch mode means it's only writing when you touch the fader. And this is either touching with your finger on a console or a controller, or touching it with the mouse. And finally, raise the fader level for the fill or accent or whatever section that you want to emphasize. Once again, just remember that you can use this with any other instruments or the entire mix. It doesn't have to be relegated to only the drums. This works for just about anything that needs to be emphasized for just a small point in time in the mix.
Contents
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The Abbey Road reverb trick6m 7s
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The Real NYC compression trick8m 52s
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The secret to "punchy" drums6m
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Give your vocal an awesome airy sound4m 13s
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Dr. Pepper 1176 setting4m 8s
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Low-volume listening for a great mix balance6m 59s
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The secret SSL buss compressor setting4m 36s
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Using a short reverb for a massive sound5m 43s
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Make your mixes hot and loud10m 11s
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The Van Halen guitar sound trick5m 40s
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Give your bass some low-end definition5m 42s
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Make your vocal shine with a stereo delay7m 13s
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Add some excitement to your boring pad tracks5m 2s
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Make your programmed hi-hat come alive5m 37s
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Get that old-school delay feedback5m 33s
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Eliminate unwanted track noises like the pros4m 37s
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Short reverb decay is your friend5m 17s
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The 1176 British "nuke" setting4m 8s
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The mono spring vocal surprise4m 6s
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Put some "smack" in your snare1m 52s
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"Space" for your keyboard tracks3m 1s
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The secret to panning background vocals3m 35s
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The “nail In the paddle” rock kick sound3m 57s
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The Hank Marvin multihued delay trick4m 21s
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Emphasizing the beat with a pumping rhythm guitar5m 17s
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Simulating a tape delay6m 45s
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Parallel compression for punch with dynamics7m 26s
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How to get reverse reverb7m 48s
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Tweak your track timing like the pros6m 9s
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The biggest sound from the shortest delay3m 53s
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The ultimate 80s guitar room sound3m 7s
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Taming the picked bass5m 18s
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The secret to gated drums4m 50s
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The exploding snare trick4m 11s
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The awesome double-effect trick3m 33s
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The moving filter trick3m 9s
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The terrific timed reverb trick7m 48s
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Acoustic guitar peak limiter trick4m 39s
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The Tommy Lee thunder drums trick5m 6s
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The mono listening trick5m 1s
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The pitchy vocal coveruo trick3m 48s
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Tighten up releases4m 1s
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The large and thick background vocal trick3m 31s
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The legendary layered reverbs trick6m 33s
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Bones Howe 1176 setting4m 17s
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The big pad reverb trick4m 26s
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Effective effects automation5m 33s
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Eliminating clicks and pops3m 35s
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EQing the mix buss4m 49s
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The magic of mono reverb5m 9s
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Adding presence with flanging3m 58s
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Insanely big room sound4m 19s
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EQ your vocal with multiband compression4m 19s
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The Abbey Road double-track trick5m 28s
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The secret Pultec bass setting3m 42s
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Increase your background vocal energy3m 13s
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EQing the perfect club kick2m 34s
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Another exploding snare trick4m
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Perfect DI and mic'd bass phase3m 34s
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Finding the Elton John piano sound4m 39s
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Effecting the effects5m 41s
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Panning outside the speakers5m 25s
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The wisdom of dotted and triplet delays4m 42s
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Increase your room mic presence5m 15s
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The dbx 160 punchy drum setting6m 8s
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Dual untimed vocal slaps5m 3s
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Tuning the kick to the song4m 28s
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De-essing the reverb4m 36s
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Let's hear it for mid-side processing3m 54s
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Dial in your low end with an RTA5m 36s
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Add some air to that piano5m 55s
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Lock the feel of the bass and kick4m 41s
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Swept midrange guitar trick5m 16s
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Hat pad trigger trick4m 9s
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Big thump snare3m 57s
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Single word delay3m 48s
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Drum replacement4m 47s
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Keyboard life4m 4s
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Balance kick and bass8m 51s
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Ducked reverb5m 52s
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Autopanning5m 38s
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Tame peaky acoustic guitar5m 9s
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Snare ambience5m 3s
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Pitchy vocal4m 13s
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Snappy snare4m 58s
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Super big reverb5m 52s
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Spectral widening4m 37s
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Clean overheads4m 38s
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Argo vocals4m 21s
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EMT short room6m 19s
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Massive snare5m 1s
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Compressed reverb4m 30s
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Bass wide4m 47s
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Vocal control3m 42s
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Compressed guitars5m 26s
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Snappy snare4m 47s
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Dry vocals2m 44s
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Bass trigger4m 15s
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Hard snare4m 51s
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Drum phase3m 25s
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Floppy kick2m 56s
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Rough mix5m 58s
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Make your drums fills more dynamic3m 23s
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The filter boost technique3m 5s
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Add some sizzle to your snare3m 3s
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That big wide guitar sound5m 53s
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Hear every hat nuance4m 25s
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Micropan for greater track separation8m 33s
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Make those toms bombastic5m 11s
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The power of the high-pass filter3m 53s
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Add some ambience to your percussion5m 9s
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Flat fader mixing8m 45s
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Get control of your cymbals2m 16s
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