1. Try and complete all edits before mixing. You don't want the mix process to become convoluted by long boring edits. Tidying the dead space between audio by using fades will reduce the need to use gates in the mix.

2. Before applying any plug ins or outboard effects, start the mix by pulling all the faders down and then creating a rough fader balance. This wipes the slate clean and is helpful because you can build a good gain structure for the mix and it paints a better picture to allow you judge how much EQ and compression to use.

3. Unless you are mixing in an accurate studio environment and you know exactly how the mix should sound use commercial reference material for mix inspiration.

4. When mixing drums with vocals sometimes its hard to get both sounding present and punchy without them getting in the way of each other. One good way (assuming your lead vocal is centrally panned) is to pan snare drums slightly off centre (maybe 5%-10%) to give the lead vocal a little more space.

5. Don't over-do the effects. When sounds seem too separate use reverbs and delays. This usually seems to occur to vocals guitars and piano parts. Too much reverb is a big no-no as it will push sounds further back into a mix and will also lack impact when played in a larger room (then the mix room).

6. Check your mixes on a variety of common use systems: A car stereo, standard ipod headphones and if possible NS10s. Check that you get an impression of bottom end from each. Listen for anything too resonant in the car.

7. The 1-4k area of a mix is tricky to get right. If there is too much going on then the mix will sound harsh. I usually subgroup elements of the mix as this way you can apply a master EQ to sections of your mix and get the balance right.

8. If you do this and the mix starts to feel lifeless try a dynamic EQ using a multi-band compressor. Choose the offending band (e.g 1-4k) and set the threshold so that it catches the louder hits/notes and let it compress a little, make sure you do not use any makeup gain as you are trying to suppress certain notes that be causing offense. This way you tend to achieve a crunchy, present mix without the ear piecing harshness.

9. Be critical about the direction of the track in the mix. Sometimes ideas laid down at the recording stage just don't work so make sure you wear a different cap and don't be afraid to do what's right for the mix.

10. The mix should be an extension to the recording and not a process for fixing a bad one, it's a chance to review and enhance. If it wasn't right when recorded it will never be right in the mix.


Author: John Webber

I could talk forever about recording drums but here are a few key tips to try after you have found the right drummer with the right kit in the right room.

Overheads (Calrec or AKG 414's)
In order to record an accurate live drum sound it makes sense to capture the natural and detailed sound of the whole kit that replicates the environment we hear it in. Stereo recording the drums can either be done to taste, or dictated by style of music. Try to think outside the box a little, as just throwing up cardioid condenser microphones over the cymbals may not produce the best result. My two favourite techniques include the OLYMPIC TECHNIQUE (named because it was pioneered at Olympic studios London) which uses two omni or cardioid directional microphones (small diaphragm for better off axis response) which are set up as a spaced pair (1.3 ratio distance away to distance apart) and once you're happy with the overall balance of the kit turn the capsules of the microphones towards the snare. This achieves a pleasing snare sound in your stereo image which gives that extra something when mixed in with the snares spot mics. Alternatively add a third omni-directional mic in the middle of the spaced pair to achieve a similar effect. This a known as DECCATREE. Remember to check the phase between the three at all times.

Kick (Beyer Dynamic M88 or AKG D112 and a Neumann M149)
Firstly take off the front shell and tape up the rattling fixings. Kick drums can be hard to beef up by mic placement alone so add a touch of compression while tracking or dual micing the drum. An M88 close to the beater is always good for attack and a M149 just outside the drumshell (around 2-3 feet) can ad nice puffy bottom end. If the kick drum is small and you have two try sticking them together and see how much more resonant a mic such as the M149 becomes when placed in the second shell.

Snare (Shure SM57)
Always mic up top and bottom (phase reverse the bottom) as you might as well give yourself the option when mixing. Try and use a solid state preamp for the top SM57 as tube preamp's tend to round off percussive sounds.

Toms (Sennheiser MD421's or ElectroVoice RE20)
Setup the MD421's with the rolloff on full and pull them back individually to achieve the right amount of bottom end to suit the drum.

Other
Any cymbals or toms your drummer isn't using might as well go. This will cut down on rattles and unwanted resonating frequencies created by the drum shells. Also placing microphones becomes a lot easier when there are less stands. If your micing the hi-hats make sure you don't face the microphone into the opening, as the hats close they push air into the microphone. Not good.