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H
ow To Mix Music is our essential guide to becoming a
music mixing professional. With this series I help explain
and teach music mixing to you – musicians, producers, and
aspiring mixing engineers. I share our years of experience and insight
on mixing and mastering. Covering the necessary preparations, tools,
underlying physics and insider tips and tricks to achieve the perfect
mix and master.
The first episode covers setting yourself up to become a great
engineer. We discussed monitoring, DAWs and plugins, composition,
and stem preparing.
The third episode covers how to improve your stereo image and
make your mix sound wider. Also, we covered how to use the
essential plugins to mix kicks and snares, the backbone of a song.
In this part I reveal our best techniques to mixing drums and mixing
bass. I explain step by step how we place these different elements in
the mixing space, go over our compressor settings, and give
equalising tips to achieve a clean and crisp mix.
If you are looking for quick fixes for your mixing problems in regard
to drums and bass, feel free to grab my personal drums and bass
cheat sheet. It outlines easy solutions to the 11 most common issues:
Cheatsheet: Quickly improve your Bass and Drums.
Mixing Claps
With this in mind, and the fact that claps most often don’t have low
frequencies, you can place claps at different locations in the mixing
space. You have the opportunity to be creative here.
Claps often need their high frequencies to cut through the mix.
Therefore, we apply a LPF at around 15kHz to 20kHz to specify its
frequency range.
Compression: With claps, same as with kicks, snares and other
drums, we set the attack time of the compressor to occur right after
the attack time of the clap to enhance the punch of the sound. This is
often somewhere between 6 and 20 milliseconds.
Reverb: Depending on what sound you are going for, claps often
sound great with either drum reverb or the reverb of the overall
space.
Mixing Toms
The base frequencies of toms are often somewhere around 100Hz and
200Hz. You want to set a HPF right before these frequencies.
We compress toms most often by 2dB to 6dB with a ratio between 3:1
and 5:1.
EQ (boost): To make toms sound rounder and give them more body,
try boosting their ringtones with a notch filter. Read how to do this
effectively in the previous episode.
Reverb: Toms often sound great without any reverb. Though, if they
are rich in mid-high frequencies, they might also sound great with a
little drum reverb.
Mixing Percussion
Compression: Same as with the other drums, we set the attack time
of the compressor right after the attack time of the percussion. This is
often somewhere between 8 milliseconds and 20 milliseconds.
Mixing Hi-hats
The length of the sound of a hi-hat is short, so can be the release time
of the compressor. For a right sound, you can set this often
somewhere between 20 milliseconds and 60 milliseconds.
Mixing Crashes
As crashes often have a long tail, it often sounds great to set a long
release time for the compressor (around 100 to 300 milliseconds).
We compress crashes often by 2dB to 4dB with a ratio between 3:1 till
5:1.
EQ (boost): We rarely boost frequencies of crashes. Though, if
necessary, you can slightly boost frequencies above 10kHz to enhance
the brightness of a crash.
Reverb: Depending on the sound you are going for, crashes often
sound good with and without reverb.
For a clinical sound, do not use reverb. For a spacious sound, you can
use the reverb of the overall space.
Mixing Bass
EQ (cut): To get a defined sound for a bass, and get rid of the mud,
it works great to set a HPF right before the base tone. This is often
somewhere between 20Hz and 80Hz.
Some basses contain only low frequencies, others are also rich in mid-
range frequencies. If the bass has only low frequencies, set a LPF
right after the highest tone.
If the bass has also mid and/or mid-high frequencies, you want to
define its highest frequencies according to other synths or
instruments that might need those mid or mid/high frequencies to
come through in the mix, or vice versa.
We often find that it sounds best to set a LPF on a bass with mid and
mid/high frequencies somewhere around 500Hz to 1kHz. However,
this depends solely on the bass and the song.
The tails of basses often differ, therefore you have to play around
with the release time of the compressor and listen what sounds best.
Also you can figure out on which frequencies the key tone of each
element is, and cut a little away from those frequencies of the other
element.
Did you grab my free cheat sheet how to fix the 11 most common
mixing issues for drums and bass? If you haven’t yet, grab it here:
Cheatsheet: Quickly improve your Bass and Drums.
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