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MIXING MULTITRACKED DRUMS
With drum machines and samplers ing
increasingly prominent in music production,
mixing real drums is ing something of a
lost art. Paul White explains the basics of this
important mixing skill, and shares some
secrets on how to get the best drum sound.
In the world of synths and samplers, we take
acoustic separation for granted, but when es to
mixing acoustic drums, things are very different
because of the usual way in which a drum kit is miked up. Normally pop productions use
close mics for each drum, a pair of overheads to capture the overall kit sound and room
ambience in stereo, and often a separate hi-hat mic.
The first thing you notice when you play back recordings of real drum kits is that each mic
will have picked up more than just the sound of a single drum or cymbal. Obviously, the
overhead mics should have picked up a bit of everything, but you'll probably find that there
is considerable spill from the whole kit on even the close mics. In fact, if the drums were
recorded at a live gig or in a small studio where the band all played together, there will also
be spill from the other instruments to contend with as well. While spill can lend a sense of
coherence to plete sound, and is not necessarily a problem in its own right, it can
cause real problems when e to