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.
You have just downloaded your WAV’s from an online recording studio, imported the tracks into your session and pulled up the faders to zero. Holy chasmic echo, Batman! That’s a lot of room in those drum tracks! Well, maybe. Yes, that’s a lot of room if you solo the drums. Now start adding guitars, vocals, bass and other elements.
Think there is too much room in the drum tracks? Or do you simply notice that the drum tracks are sitting in a nice “space” in the mix without the need for artificial reverb? I generally record my drum tracks with the room mics on the hot side, with plenty of level. Maybe it’s more than you’ll actually use in the final mix, but you have it if you need it. That will give you the most latitude when it comes time to create your atmosphere and space. Believe me, you’ll thank me in the end. So, if you want more of a Beach Boys type of thing or a 70’s dry drum track sound, then back those faders down. Should you want a modern R and B thing where the drum kit sounds more like samples, simply mute the room mics altogether. Is a big rock sound what you need? Crank those room mics up right from the start! Try this for a 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 having to resort to EQ or level changes. Again, suit to taste and don’t hesitate to experiment with the processing of your drum tracks.
Bear 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 start to sound exciting – like they’re about to explode out of the speakers.
Once you realize 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. In terms of drum tracks, the 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 compression and gating on drum tracks. Equalization will be the focus in Part Five. Until then, enjoy applying what you have read.