Estoy muy metido en eso, de hecho casi siempre me encargo de las mezclas de los temas q grabamos con mi banda.

creo q mas bien el tema depende del ingenio y la creatividad que otra cosa. depende las pistas que tengras grabadas. Lo q suelo hacer es ir a un estudio y grabar todas las bases y voces. entonces tengo: -una bateria en 8 tracks, o mas, o menos tambien. -Voces y coros -ba o por linea y por mic- o alguna de ellas -!uitarras, en gral tomanas por " micro#onos, cercano y uno le os. en mi casa mezclo. en mi caso, hay algunos punto basicos q siempre sigo, algo asi como standard: - Pongo en fase todas las pistas de la bateria: Los $verheads %mics aereos& suelen estas desa#ados del bombo, asi lo q hago es sincronizarlos con el bombo. lo mismo con todos los tracks de la bateria. tambien aparte de sincronizar todo, L'()'$ cada pista. *olo de o q suene la parte necesaria en los toms, por e . +rata de sacarle las #recuencias ba as a los aereos, de esa #orma tambien reducis el de#asa e. - si tengo 2 mics por toma de guitarra: o sea..uno de cerca y otro le ano, lo que hago es tambien sincronizarlos. El mic le ano tiene cierto retraso, por eso es que lo sincronizamos. Es buena opcion duplicar los tracks con di#erentes ecualizaciones %por e : uno con muchos medios, otro con muchos agudos&, y luego mezclarlos. - Trata de separa bajo y bombo: Es algo que lleva tiempo...la idea es que las #recuencias no se pisen, que el bombo tenga pegada y a la vez se note en la mezcla. no se debe con#undir con el ba o. - Duplica las voces: en gral, yo duplicolas voces...una voz natural...y la otra con reverberancia, luego mezclo a gusto. En gral, uso compresores para las voces. Lo de la duplicacion se puede aplicar a casi todo el proyecto, por eso digo que es mas ingenio que otra cuestion. Esto es algo muy basico, bien por arriba, con el correr del tiempo podemos ir postenado mas. podria pasarme horas tirando ideas,,...buenismo el post la seguimos,

nos vemos

MICROP O!" P#$C"M"!T

#et%s ta&e a loo& at a standard drum &it'

#oo&ing from t(e top t(is is t(e standard layout of rig(t (anded drummer' )(at *e (ave to do no* is Mi&e it+ ,o let%s start by putting t*o mi&es over t(e top -generally called t(e .$verheads./' 0ut *(ere1 )e (ave to start t(in&ing in terms of a stereo image rig(t from t(e start'

T(e stereo 'mage is t(e picture of sound created bet*een t(e t*o spea&ers' )(en a signal is placed e2ually in eac( spea&er t(e sound appears to come from a p(antom centre spea&er3 t(is is *(at *e call t(e stereo centre $ll balancing is based around t(is point 4 e'g' t(e bass3 &ic& and snare are normally panned in t(e centre *(ilst t(e (i(ats3 toms and cymbals are spread across t(e spea&ers from left to rig(t' T(e easiest *ay to e5perience t(e stereo spread is to listen t(roug( (eadp(ones *(ere t(e effect is more obvious'

T(e standard panning setup in drum recordings is: 6ic& 4 Centre ,nare Centre ats 4 alf rig(t7rig(t Cymbals 4 left 4 rig(t Toms 4 left 4 centre 4 rig(t'

0ut if you loo& at a &it it isn%t really setup li&e it s(ould sound' T(e snare is to t(e rig(t3 t(e toms (ave no spread etc' In fact if you *ere to put up t*o over(eads left and rig(t t(e stereo image *ould (ave t(e &ic& centre and t(e snare to t(e rig(t and t(e toms going from centre to left'

,ound Picture Created

8et on recordings if you imagine loo&ing at t(e &it from t(e front it loo&s -sounds/ li&e t(e snare is centre and t(e toms spread from left to rig(t' -8ou *ill notice t(at I refer to t(e imaging as a picture 4 *ell t(at%s *(at it is+/ ,o can *e get t(e over(eads to paint a picture li&e t(is1 ave a loo& at t(is setup *(ic( is based around dra*ing an imaginary line t(roug( t(e &it *(ic( lines up t(e &ic& and snare etc'

T(e microp(one placement places a stereo image similar to *(ere you *ant to go

as far as t(e placement of t(e different components' T(e mic placement *ill loo& li&e t(is.

8ou can no* start to (ear a stereo image of t(e &it as you *ill *ant to (ear it in t(e mi5' If you *ere to put t(e mi&es toget(er in a stereo pair but aimed eac( side of t(e dividing line you *ould get a stereo image but a narro* one' T(e *idt( increases as you move t(e t*o mi&es a*ay from eac( ot(er' T(e placement in t(e dra*ings above are about normal *it( enoug( spread to ma&e t(e &it (ave some *idt(' )it( practice and careful placement of t(ese t*o mi&es you s(ould be able to get a good balance of t(e &it' If you added a &ic& drum you *ould (ave a real3 open sound of t(e &it' T(e ne5t step is to mi&e t(e individual components so t(at t(eir position and individual sound can be emp(asised'

6IC6 DR9M
T(ere are t(ree *ays of setting up a &ic& drum

:ront and rear s&ins on' :ront s&in *it( rear s&in *it( (ole in it :ront s&in only'

T(ese t(ree set4ups create t(ree differing sounds' :irst you must tune t(e &ic& as per t(e directions in t(e tuning drums page' T(e first setup *it( bot( s&ins is a t(ic&3 solid3 round sound *it( a decay as t(e drum decays' I believe t(e best *ay to mi&e up t(is setup is to use t*o mi&es' One over t(e pedal and one at t(e ot(er end li&e t(is'

T(is setup allo*s you to balance t(e attac& sound of t(e beater *it( t(e decay of t(e front s&in' T(is mi&ing setup also brings up and important factor in recording: (icrophone )hase -elationships ,o *(ic( mi&e s(ould you p(ase reverse11' If you loo& at t(e microp(one over t(e beater it is pointing do*n*ards li&e all t(e ot(er microp(ones on t(e &it *ill do *(ereas t(e microp(one on t(e front s&in of t(e &ic& drum is facing t(e opposite *ay' T(erefore t(e front s&in mi&e s(ould (ave t(e p(ase reversal' $s you can see it is a good idea to reverse t(e p(ase of your &ic& mi&e even *(en you are not using t*o of t(em as t(e normal &ic& mi&e setup places t(e &ic& mi&e out of p(ase to t(e rest of t(e &it mi&es' ,imilarly3 *(en *e get into mi&ing toms and snares top and bottom t(e bottom mi&e *ill re2uire a p(ase reversal' T(e ne5t setup is *(ere t(e &ic& drum (as a front s&in on *it( a (ole in it' 0ecause of t(e (ole you can access t(e front s&in 4 t(us t(e attac& sound 4 *it(out (aving to use a beater mi&e'

ere t(e mi&e is placed inside t(e drum pointing to *(ere t(e beater (its so as to

get t(e full impact of t(e beater' !ote t(at t(e mi&e is still out of p(ase to all t(e do*n*ard facing mi&es on t(e &it so a p(ase reversal is preferred' T(e mi&e is also placed off centre *it(in t(e s(ell' $not(er factor effecting t(e &ic& sound is t(e beater t(e drummer uses' 0eaters vary from soft to (ard' ard beaters -usually *ood/ (ave more impact sound t(an t(e softer beaters' "5periment *it( eac( and you *ill (ear t(e difference' o* close to t(e centre of t(e s&in t(e beater is placed also varies t(e sound' ,imilarly t(e si;e of t(e drum stic&s t(e drummer uses *ill also effect t(e sound 4 t(in stic&s aren%t going to go boof+ no matter (o* muc( you "< t(em'

*ound )ressure Level:

It s(ould be noted (ere t(at t(e ,P# -,ound Pressure #evel/ created by drums is e5treme so you must select a microphone t(at can (andle (ig( ,P# and even t(en it *ill output a (ig( voltage into t(e console' T(erefore a Microp(one P$D s(ould be inserted in t(e console to prevent t(e front end of t(e microp(one preamplifier distorting' If your console doesn%t (ave a mi&e pad s*itc( you s(ould insert one in t(e microp(one lead' #i&e t(e p(ase reversal plug you can purc(ase mi&e pad plugs from your local dealer' $ pad of any*(ere from =>db 4 2>db *ill be re2uired' $ note (ere about mi&e pads'

)(en purc(asing a console c(ec& t(at t(e microp(one pad is in t(e proper section of t(e circuit' ,ome manufacturers put t(e pad after t(e transformer and before t(e preamp' 9nless t(e transformer is an e5tremely (ig( 2uality one it *ill distort so ma&e sure t(e pad is before it in t(e circuit'

ere%s a circuit diagram for all you tec(o frea&s *(o understand circuit diagrams' !o*adays all t(e front ends are electronically balanced circuits t(at are capable of (andling t(e (ig( voltages t(at modern mi&es produce but if you are into retro equipment its *ort( c(ec&ing your old console out because a lot *ere made *it( t(e pad in t(e *rong place'

TOM,
T(e toms are similar to t(e full &ic& drum mi&ing in t(at t(ere is a mi&e on t(e impact s&in t(at gets t(e full attac& of t(e stic& *(en it (its t(e drum plus you can also add anot(er optional bottom mi&e to get t(e (ang of t(e t(e drum' 8ou must again remember t(e p(ase relations(ips (ere' If you *is( to add a bottom mi&e to t(e toms you must reverse it%s p(ase'

-./0 +$(*

1L$$+$(*

If your drummer doesn%t (ave a bottom s&in on t(e toms you can use eit(er a top mi&e or bot( mi&es or you can opt for just one under mike *it( a p(ase reversal naturally' T(e advantage (ere is t(at t(e under mi&e is inside t(e tom *(ic( isolates t(e mi&e from t(e ot(er drum sounds and improves separation'

C8M0$#, $!D
+he /ymbals

I $T,

T(ese are basically covered by t(e over(eads but you mig(t find t(at t(e ride cymbal needs a mi&e of it%s o*n if t(e drummer rides it a lot t(roug( t(e c(orus' 0asically you *ant t(e cras( cymbals to (ave a loose sound yet t(e ride often is t(e main drive as it replaces t(e (i(at for t(e ? a =@ feels' 8ou must consider t(is factor *(en setting up t(e over(eads' Drummers also accent using t(e bell of t(e ride cymbal t(at can be e5tremely loud so be*are of mi&ing too close to t(e bell of t(e ride cymbal or it *ill dominate t(e sound field' ,ome engineers mi&e t(e ride from underneat(' In a comple5 drum setup *it( lots of splas( and cras( cymbals you mig(t li&e to spot mi&e certain cymbals but I rec&on t(at if you%ve setup your over(eads correctly t(ey s(ould cover t(e full cymbal range'

+he 2ihats
#i&e t(e over(eads t(e (i(at also re2uires a mi&e *it( a clean top end so it%s usually a condensor mi&e' I li&e to (ide t(e (i(at mi&e from t(e snare by placing it in a position t(at is pointed at *(ere t(e drummer impacts it *it( (is stic& but t(e (i(at is p(ysically bet*een t(e (i(at mi&e and t(e snare'

Aood separation bet*een t(e (i(at and t(e snare is desirable so consider t(e snare *(en you place t(e t(e (i(at mi&e' $not(er factor of t(e (i(at is t(e sound made *(en t(ey are snapped toget(er' I li&e to aim t(e mi&e so it is pointing at a point

t(at gets t(e stic& impact as *ell as t(e pointing at t(e edge of t(e (ats as t(at is *(ere t(e closing sound emanates' !'0' If you get too close you *ill get *ind distortion from t(e (ats as t(ey close'

One of t(e problems you can get is *(ere t(e drummer (as t(e (i(at lo* to t(e snare and t(e toms also lo* to t(e snare' T(is creates separation problems as *ell as ma&ing it (ard to isolate t(e snare from t(e tom' T(ere%s not muc( you can do ot(er t(an as& t(e drummer to c(ange' T(is is not as a*esome as it sounds3 some drummers (ave never considered t(is aspect of t(eir &it layout and on ma&ing t(e c(ange actually say it%s O6 and find t(ey easily got used to it and no* prefer it' T(e same problem can occur *it( t(e ride cymbal 4 some drummers (ave t(eir ride cymbal almost touc(ing t(e floor tom *(ic( ma&es separation (ard 4 I recently (ad a drummer li&e t(at and *(en I mentioned it (e agreed to c(ange' $fter t(e session (e remar&ed t(at (e actually li&ed t(e c(ange and *ould do it in future' Moral of t(is story1 4 don%t be afraid to as&++

,!$R" DR9M
Once again3 t(e snare can be mi&ed from t(e top and t(e bottom3 in fact it is one most often double mi&ed' T(e bottom mi&e on a snare can give t(e snare more dept( but it also gives you control over (o* muc( snare crac& sound is in t(e overall sound' -T(e snare is actually t(e stretc(ed *ires across t(e bottom s&in and gives t(e snare it%s sound 4 ot(er*ise it%s just anot(er tom/' T(e snare mi&e is normally s2uee;ed in bet*een t(e (i(at and t(e first rac& tom and li&e t(e tom mi&es is aimed at t(e main impact area in t(e centre of t(e snare' *ide *tick: Often you (ave a drummer playing a lot of side stic&' I (ave used a separate mi&e specifically for t(e side stic&' T(e side stic& action is for t(e drum stic& to (it t(e rim of t(e snare drum and t(e main impact is on t(e rig(t side of t(e snare' $s your normal snare mi&e is placed on t(e left side it doesn%t al*ays pic& up t(e side stic& clearly' !ot only does t(is give you a mi&e closer to t(e side stic& action it also allo*s for different "< and effects for t(e side stic& sound' 8ou can eit(er trac& it to a different recording trac& or you can *atc( t(e drummer and s*itc( mi&es during record'

$M0I"!C" MI6",
Drums mi&ed close4up don%t actually sound very real as t(eir real sound is a combination of various factors' 8ou actually (ave to get a*ay from t(em to get t(e full sound' $ close mi&e on a snare doesn%t really sound li&e a snare drum -t(us t(e importance of t(e over(eads/ so some engineers add $mbience mi&es to allo* t(e freedom to add t(e distance sound of t(e &it *(en mi5ing' !aturally t(e drums must be in t(eir o*n room for t(is system to be used or t(e ambience mi&es *ill pic& up everyone else in t(e room' 0asically ambience mi&es are a stereo pair of mi&es placed at a distance -room si;e limited/ from t(e &it' T(ey can be setup as a crossed pair or moved apart to gain a more ambient spread' 8ou mig(t li&e to try using a (* *tereo mi&e setup' $mbience mi&es can also be !ated 4 so t(ey only open *(en t(e snare is (it for e5ample4 and you must (ave plenty of recording trac&s to allo* for anot(er stereo pair' $mbience mi&es effect all t(e &it and pus( t(e drum &it bac& in t(e sound field so if you *ant a round tig(t &ic& sound and an ambient snare sound you (ave to gate t(em so t(ey are closed for t(e &ic& and open for t(e snare' $n engineer I &no* used to (ang a very directional s(otgun mi&e (ig( above t(e &it aimed at t(e snare and use t(e under snare mi&e to trigger a gate t(at opened it *(enever t(e snare *as (it' e *ould t(en mi5 it in *it( t(e snare sound and it gave t(e snare a natural ambience and *as e5tremely effective' ,o no* *e (ave set up all t(e mi&es *e are ready to start balancing and equalising them

(icrophones #or drums

+he 0ick' )(at are *e loo&ing for in a &ic& drum mi&e1 :irstly and most importantly it must be capable of *it(standing (ig( sound pressure levels++ )(en a mi&e is only inc(es a*ay from a &ic& drum beater t(e sound pressure levels are e5tremely (ig( at lo* fre2uencies' T(e &ic& drum mi&e must be capable of (andling t(e e5treme transients involved' ,econdly it must be capable of reproducing very lo* fre2uencies'

T(e t*o most popular &ic& mi&es are 4 T(e $6A D=2 and t(e 0eyer M??' T(e M?? is my favourite' 0ot( t(ese mi&es (ave an e5tended bottom end response and can (andle t(e (ig( sound pressure levels associated *it( &ic& drums' On t(e ot(er (and if t(e drummer is not (itting too (ard you can%t beat t(e !euman 9?B or CD3 *(ic( are (ig( 2uality condenser and (ave large diap(ragms -good for lo* fre2uencies/ and smoot( lo* end response' Ot(er mi&es are t(e ,(ure ,MEB7E? and t(e old R"2> *(ic( are bot( capable of *it(standing t(e load' +he *nare' ere *e are loo&ing for a mi&e t(at *ill *it(stand e5treme (ig( end transients and (as a tig(t pattern so as to &eep out t(e (ig( (ats and t(e adjacent toms' T(e most common snare mi&es *ould (ave to be t(e ,(ure ,MEB and t(e ,enn(eiser MDC2=3 follo*ed by t(e !euman 9?B7?D and t(e $6A C=C"0' Ot(ers are t(e ,enn(eiser MDCC= or t(e !euman 6M?C' I%m al*ays ama;ed at (o* many engineers still use t(e ,(ure ,MEB even t(oug( t(ere are lots of ot(er mi&es around' T(e main advantage of t(e ,MEB is t(at it%s a tig(t mi&e *it( a tig(t pattern t(at &eeps out t(e spill from t(e (i7(at and t(e toms' T(ey are also e5tremely reliable and don%t mind being (it by a *ay*ard drummer' I s(ould note (ere t(at t(e difference bet*een t(e ,MEB and t(e ,M E? is t(at t(e ,ME? (as a permanent *ind s(ield 4 t(e microp(one section is identical' 8ou can buy a *ind s(ield for t(e ,MEB -!ote t(e t*o microp(ones ne5t time you see a press conference from t(e )(ite ouse'/ +he +oms' T(e t*o main mi&es used for toms are t(e ,enn(eiser C2= and t(e ,(ure ,MEB' In t(e studio I li&e to use !euman 9?B%s as t(ey (ave a beautiful *arm bottom end' T(e ,(ure ,M EB%s don%t (ave a lot of bottoms but if you%re tig(t mi&ed t(e pro5imity effect compensates for it and as *it( t(e snare t(eir tig(t pattern (elps' $verheads' Aood condensor mi&es ma&e t(e best over(eads' T(ere are t(ree main over(ead mi&es3 t(e !euman 9?B for *armt(3 t(e $6A C=C"0 and t(e $6A CE= for crystal clarity' T(e $6A C=>>> and t(e Roden are also a good budget condensor over(ead mi&e e5cept I find t(at bot( (ave a slig(tly tinny top end compared *it( t(e more e5pensive models' I *ould say t(e $6A CE= *it( a C6= capsule and =>db pad is t(e most popular over(ead mi&e' 2ihats. Condensor mi&es *it( a tig(t pattern ma&e t(e best i(at mi&es li&e t(e $6A CE= or t(e !euman 6M?C' 0ot( (ave a =>db pad option *(ic( is (andy as t(e (ig( end transients from a (i(at are e5treme' .mbience (icrophones' 9sually (ig( 2uality condensor mi&es are used (ere'