This is the fourth installment of my series on the processing of drum tracks. Today we will briefly discuss ambience and the use of room mics thereof.
You have now just downloaded your WAV’s from an online recording studio, imported the tracks into your session and pulled up the faders to zero. Holy echo, Batman! That’s a lot of room in those drum tracks! Well, yes and no. That is of course a lot of room if you solo the drums. Now start adding other elements.
Is there actually more room than you need now? Or do you actually notice that the drum tracks are sitting in a nice “space” in the mix with no need for artificial reverb? I often record my drum tracks with the room mics on the hot side, with plenty of level. Perhaps more than you’ll actually use in the final mix, but you have it if you need it. This will give you the most latitude when the time comes to create your atmosphere and space. Believe me, in the end you’ll thank me. So, if you need more of a Beach Boys type thing or a 70’s dry drum track sound, then back those faders down. If you want a modern R and B thing where the drum kit sounds more like samples, just mute the room mics altogether. Are you needing a big rock sound? Crank those room mics up from the start! Here is a fun, creative use of room mics: sneak the room mics in during choruses only, or during big drum fills. Doing this with your drum tracks will add more presence and excitement without resorting to EQ or level changes. Again, don’t hesitate to experiment with processing your drum tracks.
Keep in mind that a healthy use of compression on room mics is standard practice for most rock productions. The aim is to get the compressor pumping in time with the track so that the drums sound exciting – like they’re about to explode out of the speakers.
Once you have realized that a good drum track isn’t merely about impact and punch, that it should have depth and a real sense space as well, your productions will take on a whole new life. Regarding drum tracks, the quickest, most natural way to a cool sonic landscape is through the creative use of room mics in your mix.
Check out my other articles on drum processing on this site, covering topics such as use of gating and compression of drum tracks. Part Five of this series will focus on Equalization. In the meantime, enjoy the process of applying what you have read. Now remember, if you need to learn more about the computer to even get started, there’s no shame in turning to basic computer training so you have the basic computer skills to do the job. Even better you could always simply get an online audio engineer to do it all for you.
