15 Questions
Why did the engineer find it difficult to control the snare in the DAW session?
The snare was routed to multiple auxiliary channels and various buses for processing
What did the engineer do to try and resolve the issue with the snare?
Lowered the main drum bus fader
What did the engineer find easy to adjust in the DAW session?
The main drum bus fader
What does the text suggest about the downside of using a DAW for mixing?
Loss of control over the mix due to the number of channels and routing options
Why did the engineer find it inefficient to adjust the snare in the DAW session?
The engineer had to bring up the level of the rest of the kit
What is the purpose of creating subgroups for multi-miked kit pieces like kick, snare, and toms?
To route them to the main Close Mics group for processing
What is the function of the Rooms/Effects group in the author's approach to managing routing for multitrack drums?
To gauge the influence of ambience and effect mics in the mix
What is the role of parallel processing in the author's approach to managing routing for multitrack drums?
It allows for dedicated auxiliary channels to be routed directly to the main drum bus
Why does the author recommend processing the drum sound at the highest level possible before getting into details?
To achieve the desired drum sound by starting with a broad approach
What is the initial grouping of drums in the author's approach to managing routing for multitrack drums based on?
Focused captures of individual drum elements
What is the main idea the author wants you to take away from the passage?
The significance of retaining the ability to shape and control the drums as a whole in the context of any song
What does the author compare audio signal flow to?
Tributaries combining into the same river
According to the passage, what happens if you mute the drum bus?
No drums reach the stereo bus
What does the author encourage readers to consider regarding their approach?
Retaining the ability to quickly and easily shape and control the drums as a whole
What benefit does the author highlight about working 'upstream' in audio signal flow?
Access to detailed control without losing overall control
Study Notes
- The text discusses the author's approach to managing routing for multitrack drums in a Digital Audio Workstation (DAW)
- The author's setup is simple but allows for control over key components of the drum sound
- At the beginning of a mix, the author groups drums into three stereo buses: Close Mics, Overheads, and Rooms/Effects
- Close Mics group includes focused captures of individual drum elements, such as close kick and snare mics
- Overheads group contains main overheads and cymbal spot mics, used to retain the acoustic quality of the drums
- Rooms/Effects group includes ambience and effect mics, helpful for gauging their influence in the mix
- As the mix progresses, the author creates subgroups for multi-miked kit pieces (kick, snare, and toms) and routes them to the main Close Mics group
- Parallel processing is used for creative experimentation, with dedicated auxiliary channels routed directly to the main drum bus
- Sends from broad groups can be used to feed a different balance into the parallel compressor for quick and effective control
- The author finds that by processing the drum sound at the highest level possible (drum bus), and then getting into details, they can achieve the desired drum sound.
https://www.soundonsound.com/techniques/controlling-your-drum-mix Learn about the importance of imposing discipline when working with drum mics in digital audio workstations (DAWs) to retain control over your mix. Explore the challenges and strategies for managing multiple channels and routing options in your DAW.
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