Mixing drums on an analog console starts with gain structure, signal flow, and EQ. From setting levels to using compression and gating, Jeff provides practical tips and insights for you to enhance your mix on an analog desk.
_This video is from a course all about Mixing on an Analog Console. Watch the full course here: [ Ссылка ]_
*Unpacking the Drums*
Nine drum inputs are used in this mix: two kicks, two snares, a hi-hat, two toms, and overheads. Setting proper gain structure first is key to a great mix on analog. Your inputs should peak around zero to avoid clipping and provide enough headroom.
- Gain Indicators: The console has indicators for -15, 0, +12, and +18, with +18 indicating clipping.
- Analog Clipping: Avoid clipping as on an analog console, it could ultimately damage the circuitry.
*Channel Strip Layout*
The channel strip includes a 48V and pad switch, a gain knob, an EQ section, auxes, group assignments, a pan knob, mute button, and a fader. The fixed layout is standard on analog consoles but if you’re coming from digital, it may seem odd. Most digital consoles now have a flexible layout and flexible routing options.
*Drum Processing*
Kick and snare both have EQ adjustments to cut some of the midrange frequencies and boost the high and low frequencies. Jeff also uses gates and compressors to isolate and enhance the sound of each drum input, ensuring a clean and punchy mix.
*Group Processing*
Compression can be added to the whole kit via the use of group processing. All drum tracks are sent to groups one and two, with a stereo compressor applied to the groups. Group compression provides cohesion and additional punch to the mix.
*Challenges and Solutions*
One of the most common challenges faced by churches mixing analog is limited outboard effects. With only one reverb and one delay for example, they should be allocated efficiently across your inputs. Reverb and delay should be used wisely to avoid compromising the mix.
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Mixing Drums on an Analog Console | Jeff Sandstrom
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