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Processing The Drum Overheads Tips


By and by I love simply having one mic on the bass drum, one mic on the catch drum and two overhead mics all in all unit. Along these lines, the drums are a lot simpler to blend, it powers the drummer to play better and all the more reliably and all the situation of the drums is accomplished for me! I will show you the customary method to process the overheads and the 'Beatles' method for preparing the drum overheads.

The Traditional Way

To begin with, I would begin with a reverb. It's not constantly conceivable to get a decent sounding drum space for a chronicle so it is essential to have some air and life in your overheads. A reverb can do this for you. Contingent upon the sound I need and the speed of the tune, I as a rule have a reverb rot of 1 second. Chaos around with the room size, moistness, and so on to discover the drum sound you need. Likewise, it is essential to EQ the reverb as reverb can rapidly sloppy up a blend.

Next I would utilize pressure. I never truly go to insane when I need a characteristic sounding by and large drum sound. I would for the most part go for a 4:1 proportion with a quick enough assault time and a medium to slow discharge time. This enables the toms to punch out a piece and furthermore enables the cymbals to have more nearness and more definition on each hit. Examination as consistently and see what functions admirably.

At that point I utilize an EQ. I first expel the full frequencies around the 250 Hz - 500 Hz district. After that is cleared up, I at that point utilize a high pass channel and evacuate everything underneath 60 Hz. In the event that I need outrageously bassy toms I am progressively cautious about that move. I at that point complete two scoops. First I scoop out around 8 dB with a wide Q where my kick drum is in the recurrence run. Next I scoop out around 8 dB with a wide Q where my catch drum is. This clears up a great deal of the range and lets my kick and catch tracks breath more and have more definition. On the off chance that I feel the cymbals need more shimmer, I utilize a high rack increase in perhaps 3 dB to everything over 8000 Hz. Be mindful so as not to support this to an extreme.

That is basically to the extent I go when preparing the overheads in a progressively customary manner.

The Beatles Way

The Beatles method for handling the overheads are very extraordinary. Think about a portion of the Beatles' initial tracks where the cymbals are messy and sound packed as hellfire and appear to ring out until the end of time. It's a marvelous sound.

First I start with a blower. I turn down the edge to about - 20 dB. At that point I have a proportion of around 40:1. I for the most part utilize a moderate assault and moderate discharge as well. This totally crushes the elements of the overheads yet gives it that mark sound. Make a point to mix in you kick and catch tracks so it seems like a genuine drum track!

Next I generally simply do fundamental equing and move off a great deal of the low end. I at that point include a really extreme high rack to enable the cymbals to ring out. Simply investigation and see what functions admirably for you.

Immersion is generally my best course of action while accomplishing that grimy Beatles drum sound. Wreckage around with the wet/dry sign with your immersion plug in and locate the sound you need. Immersion can truly cover up the highs of the cymbals and some other resounding frequencies and make them all the more satisfying to the ear.

Some of the time sidechain the kick and catch to the Beatles overhead can truly make the cymbals siphon with life. That alongside some reverb can make your overheads completely wake up.

That is for the most part the extent that I go for accomplishing the Beatles overhead drum sound.


I trust these tips have assisted you on preparing the drum overheads with achieving the sound you need. Utilize these tips as a manual for locate your ideal drum sound.

Much obliged for perusing.

Anticipate all the more blending tips soon.

Have a decent day.



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