Article: Make Those Drum Tracks Shine with Satanic Audio Drum Samples
Make Those Drum Tracks Shine with Satanic Audio Drum Samples
Drum Multitracks by: Christian Svedin https://www.youtube.com/watch?v=L82OskAFRy8
Welcome to our in-depth tutorial, where we'll take your drum tracks from good to outstanding. Our drum track consists of Kick, Snare, 2 Toms, Ride, Overhead, and Room channels, all professionally recorded. You'll notice right away that the kick sounds like it's already gone through sample replacement, providing us with the perfect starting point for this tutorial.
The Overheads sound beautifully balanced and pack a punch, while the Room channel captures the tight, intimate ambiance of a small to midsize room. But here's where the magic begins – we're about to transform this mix to make it sound as if it was recorded in a massive live room, akin to the legendary Tall Pine Records space.
It's essential to highlight that, throughout this tutorial, we won't be using any external processing tools or effects, aside from Satanic Audio Drum Samples. So, let's dive in and elevate your drum mix to new heights!
In this tutorial, we'll kick things off by utilizing the Slate Digital Trigger 2 plugin on our Kick, Snare, and Tom tracks. For this demonstration, we'll be working with the Lord of the Dope Kit.
Our first task is to load up the Stereo Room 2 samples onto the aforementioned channels. These samples introduce a massive, natural room tone to our mix. To begin, we'll solo the Room 2 samples and then sync them with the provided Room channel to establish an initial balance between the samples themselves. Subsequently, we'll fine-tune this balance to ensure it harmonizes seamlessly with the rest of our mix.
Important: Pay close attention to panning the room samples correctly to preserve the stereo image. A helpful tip is to mirror the toms with the Overhead to maintain the integrity of the stereo field. Additionally, if you encounter any issues with false triggering with Toms, consider cleaning up the Tom tracks beforehand.
Keep adjusting the levels until you achieve a balance that sounds natural and fitting to your ears. Once satisfied, solo the Room 2 samples and bounce them as a stereo output.
Here's a preview of the transformative effect Room 2 samples will have on your mix.
Starting to notice that substantial sonic enhancement? Well, we're about to take it to the next level.
Next up, we'll replicate the same process with the Stereo Room 1 samples. The beauty of this step is its simplicity – you just need to drag the samples from your browser and drop them into the same sample slot as Stereo Room 2. The best part? There's no need to readjust the sensitivity or detail settings all over again. It's a seamless continuation of our journey towards achieving an even grander sound.
Let's continue our journey by applying the same method to the mono room samples. However, this time, we'll introduce the original Room channel into the mix. This addition will create a more cohesive and unified sound that takes your mix to the next level.
Our journey is unfolding beautifully, but there's more to come.
Our next step involves replicating the process with the Overheads. Here's where we need to exercise extreme caution, paying close attention to levels and panning because Overheads can either make or break any drum mix.
This is where the drummer's true dynamics come into play, and it's your moment to decide what you desire from your overheads. Are they meant to represent the entire drum kit, or would you like the cymbals to take the spotlight? The choice is yours.
In my case, I opted to follow my ears and aim for a well-balanced Overhead mix that encapsulates the essence of what I wanted to hear.
The transformation is truly remarkable, wouldn't you agree? But we're not quite done yet; there are a few more steps to unveil.
Now, the next course of action largely depends on your preferences. If you're content with the original Close Mics, you can choose to leave them unaltered and apply processing as needed. However, if you're inclined to incorporate the samples into your mix, that's entirely within your discretion.
Here's a key observation: we currently have only one source each for the Kick and Snare mics. Given our desire to utilize all the Close Mic samples, we're going to employ a workaround. We'll duplicate the original tracks, resulting in Kick In, Kick Out, Kick Sub, Snare Top, and Snare Bottom channels. Alternatively, if you're mindful of your track count and prefer to manage them as a single channel, you can load all the instances into a unified channel. The choice is entirely yours, tailored to your mix preferences.
Let's take a moment to reflect on how far we've come.
And through our meticulous steps and enhancements, we've evolved it into a professional drum mix that sounds like this
The difference is truly astonishing, and it's a testament to the power of careful mixing and the incorporation of these exceptional drum samples. It's nothing short of "Wow. Just Wow."
Is there a quicker way to achieve these results? Certainly, bussing can streamline the process, but the method we've explored here is a fail-safe approach that eliminates the need for additional processing down the line.
Now, you might be wondering, "Do I need to apply all these different sample groups?" The answer is no, it's not mandatory. However, if you find yourself working in a small room and aspire to capture that vast, expansive room sound, this approach is invaluable.
Additionally, if you're running into constraints like limited channels, microphones, cables, or room space, this method offers a convenient way to introduce elements like Snare Bottoms, Sub kicks, extra Room channels, and more into your mix seamlessly.
And just for the fun of it, let's listen to the same clip with some processing applied. In this instance, I've utilized the STL Tones ControlHub Colin Richardson pack to enhance the mix, demonstrating the remarkable synergy between our methodology and Satanic Audio Drum Samples.