Author: Stephen Andrews
How loud should drums be in a mix?
How loud should drums be in a mix? This is a question that has been debated among audio engineers for years. Some say that drums should be as loud as possible in a mix, while others say that they should be kept at a moderate level. There is no right or wrong answer to this question, as it depends on the specific needs of the song.
If the song is mostly drums and percussion, then it is important to make sure that the drums are loud enough to be heard over the other instruments. This will allow the drums to drive the groove of the song and keep the other instruments from sounding too thin. However, if the drums are too loud, they will overpower the other instruments and make the mix sound muddy.
If the song is mostly focused on vocals and melody, then the drums should be kept at a moderate level. This will allow the other instruments to be heard more clearly and prevent the drums from getting in the way of the vocals. However, if the drums are too soft, they may get lost in the mix and the song will lack energy.
Ultimately, it is up to the audio engineer to decide how loud the drums should be in a mix. They will need to take into account the overall sound of the song and what will work best for that particular song.
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How loud should the kick drum be in a mix?
Often, the biggest problem with drums in a mix is that the kick drum is too loud. This problem is compounded by the fact that the kick drum is often the only drum in the mix, so it ends up carrying a lot of the weight. The other drums in the mix are generally there to support the kick, so they are often mixed at a lower level. This can lead to a lot of headroom being taken up by the kick, leaving less room for the other instruments.
There are a few things that can be done to solve this problem. First, try using a kick drum with a lower fundamental frequency. This will provide a bit more headroom before the kick starts to sound overbearing. Second, try using a smaller kick drum. This will lower the overall volume of the drum without affecting its punch. Finally, try using a kick drum sample with a shorter attack. This will allow the other drums in the mix to come through more clearly.
Ultimately, it is up to the mixer to decide how loud the kick drum should be in a mix. There is no right or wrong answer, but it is important to consider how the kick will affect the rest of the mix. If the kick is too loud, it will overpower the other instruments and make the mix sound muddy. If the kick is too quiet, it will get lost in the mix and the other instruments will take over. The best way to find the perfect balance is to experiment and use your ears to make the final decision.
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How loud should the snare drum be in a mix?
The debate over how loud the snare drum should be in a mix is one that has been around for as long as mixing has been a part of music production. Some believe that the snare should be as loud as possible in order to cut through the mix and be heard, while others believe that the snare should be more subdued in order to allow other instruments in the mix to be more prominent. There is no right or wrong answer to this question, as it is ultimately up to the mixer to decide how loud the snare should be in relation to the other instruments in the mix. However, there are a few things to consider when making this decision. First, it is important to consider the genre of music that is being mixed. For example, in a mix for a heavy metal song, the snare is likely to be mixed much louder than in a mix for a jazz song. This is because the heavy metal genre is generally much louder and more aggressive sounding than jazz. Therefore, the snare needs to be mixed at a higher level in order to fit in with the rest of the mix. On the other hand, in a jazz mix, the snare might be mixed more subdued in order to allow the other instruments in the mix to be more prominent. Second, it is also important to consider the other instruments in the mix. If the mix is already quite full sounding, then the snare might need to be mixed at a lower level in order to avoid overcrowding the mix. On the other hand, if the mix is quite sparse sounding, then the snare might need to be mixed at a higher level in order to provide more of a full sound. Ultimately, there is no right or wrong answer to the question of how loud the snare should be in a mix. It is up to the mixer to use their discretion and make a decision based on the needs of the particular mix.
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How loud should the hi-hats be in a mix?
In general, hi-hats should be a relatively low volume in a mix. This is because hi-hats are often used as a rhythmic element, and if they are too loud they can dominate the other instruments and make the mix sound cluttered. Additionally, hi-hats usually have a lot of high frequency content, which can make them sound harsh if they are too loud.
That said, there is no hard and fast rule for how loud hi-hats should be in a mix. It depends on the other instruments in the mix, the overall tone you are going for, and the dynamics of the song. If the hi-hats are too quiet, they may get lost in the mix. If they are too loud, they may dominate the mix. Ultimately, it is up to the mixer to use their judgement to find the right balance.
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How loud should the cymbals be in a mix?
How loud the cymbals should be in a mix is a question that depends on the style of music being mixed, the other instruments in the mix, and the overall sound that the mixer is going for. In general, cymbals are brighter sounding than most other instruments in a band, so they may need to be mixed at a lower level than other instruments in order to sound balanced. Another factor to consider is the decay time of cymbals - they generally have a longer decay time than other instruments, so they may need to be mixed lower in order to avoid sounding too ambient.
When mixing cymbals, it is important to experiment with different levels in order to find the perfect balance. Start with the level of the other instruments in the mix, and then raise or lower the cymbal level until it sounds right. It is also important to make sure that the cymbals are not masking any other instruments - if the cymbals are too loud, they will make it difficult to hear other instruments in the mix.
In general, cymbals should be mixed at a level that is lower than the other instruments in the band. However, the final decision on how loud the cymbals should be in a mix is up to the mixer and depends on the other instruments in the mix, the style of music, and the overall sound that the mixer is going for.
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How loud should the toms be in a mix?
This is a difficult question to answer, as it depends on the overall sound of the mix, the other instruments involved, and the style of music. In general, however, the toms should not be too loud in a mix, as they can quickly become overwhelming and muddy sounding. If the mix is already quite dense, then the toms should be kept fairly low in the mix, or they may need to be EQ'd to reduce their low end frequencies. On the other hand, if the mix is quite sparse, then the toms can be brought up a bit in the mix to provide more rhythmic interest. Ultimately, it is up to the mixer to use their ears and make a judgement call on how loud the toms should be in the mix.
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How loud should the overheads be in a mix?
How loud the overheads should be in a mix is a question that gets asked a lot, and the answer is somewhat subjective. In general, the overheads should be fairly loud in the mix, as they provide important information about the kit and the room. However, there are times when the overheads may need to be turned down a bit, depending on the other instruments in the mix and the overall sound that is desired.
The overheads should usually be the loudest drums in the mix, as they capture the cymbals and the overall sound of the kit. They should be loud enough that the cymbals are audible, but not so loud that they sound harsh or overbearing. The overheads should also be loud enough to provide a sense of the size and shape of the room, as well as the ambience of the space.
There are times when the overheads may need to be turned down a bit, depending on the other instruments in the mix. If the snare drum is particularly loud, or if there are a lot of other high-frequency instruments, the overheads may need to be turned down so that they don't become overpowering. Additionally, if the room sound is not desired, the overheads can be turned down so that the room sound is less prominent.
In general, the overheads should be fairly loud in the mix, as they provide important information about the kit and the room. However, there are times when the overheads may need to be turned down a bit, depending on the other instruments in the mix and the overall sound that is desired.
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How loud should the room mics be in a mix?
In a perfect world, the room mics should be set at the same level as the source mics, or maybe 3-5 dB louder. This allows the engineer to dial in the perfect blend of direct and ambient sound. However, in the real world, there are a few things to consider when setting the level of the room mics.
The first thing to consider is the sound of the room itself. If the room has a lot of reverberation, the room mics will pick up more of that and the sound will be muddier. In that case, it's better to back off the room mics a bit so that the reverberation isn't so overwhelming.
The second thing to consider is the level of the source mics. If the source mics are already cranked up pretty loud, the room mics don't need to be as high in order to get a good balance. Conversely, if the source mics are softer, the room mics will need to be a little higher in order to be heard.
The third thing to consider is how much bleed there is from other instruments. If there is a lot of bleed, the room mics will pick up more of that and the sound will be more cluttered. In that case, it's better to back off the room mics a bit so that the bleed isn't so overwhelming.
Ultimately, it's up to the engineer to experiment with the levels of the room mics and find what sounds best.
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How loud should the click track be in a mix?
How loud should the click track be in a mix? This is a question that is often debated among recording engineers and producers. While there is no definitive answer, there are some general guidelines that can be followed.
The click track is used to keep the recording in time with the metronome. This is important for maintaining a consistent tempo throughout the recording. If the click track is too loud, it can be distracting and make it difficult to hear other instruments. Conversely, if the click track is too quiet, it can be difficult to keep the recording in time.
Ideally, the click track should be at a level where it is audible, but not distracting. This will vary depending on the mix and the instruments being recorded. In general, the click track should be somewhere between -10 and -20dB in the mix.
Of course, there are always exceptions to the rule. If the recording is particularly fast or complex, the click track may need to be louder in order to keep everything in time. Conversely, if the recording is slow or simple, the click track can be softer. Ultimately, it is up to the engineer or producer to experiment and find the level that works best for the individual recording.
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How loud should the guide vocals be in a mix?
This is a difficult question to answer, as it depends on the style of music being mixed, the artist's preference, and the sonic goal of the mix. In general, however, the guide vocals should be panned in the center and be the loudest element in the mix, with the rest of the instruments and voices being panned around them. This will help the artist to stay on pitch and in time with the music, and will also ensure that the guide vocals are the most clear and present in the mix. There are exceptions to this rule, of course, but in general, this is a good starting point.
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What do we have to consider when mixing drums?
1. Kick and snare should be mixed high enough to cut through the mix without clashing with other instruments. 2. The same rule applies to tom drums and cymbals - they need to be mixed prominently so that their sound can be heard clearly. 3. Try to equalize the levels of each drum in the mix, so that each one is detectable but not too loud.
How loud should a kick be in a mix?
This is a difficult question to answer because loudness can vary depending on the mix volume and compression used. Generally, if the kick is present in the mix at a reasonable level and does not overpower the other instruments, it should be at around 60-80 dB.
How many MICs do you need for a kick drum?
You only need one mic for a kick drum.
How to make a backbeat sound like a drum?
The backbeat should sound like a drum when played by itself. To make it sound like a drum, you need to create a strong bottom-end with the snare, and then add in the toms. Try not to overpower the other elements in the mix, so balance the volume of each element until you have a good balance. Remember to listen for where the beats are coming from and aim your EQ accordingly.
How do you make a hi hat sound more lively?
Transient attack dial is one way to make a hi hat sound lively.
What happens if there are too many hi hats in music?
If there are too many hi hats in music, the mix can become sharp enough to take an ear off. To save your ears and ensure vocals, guitars, and synths shine through, managing the high frequencies produced by hats is vital. When processing hat sounds, it's important to account for their roominess and spatial quality so they don’t overwhelm other sound elements in your song. Keeping them clean and tidy will help them blend naturally into the overall mix while maintaining a level of excitement and energy that makes them an essential part of a well-crafted track.
What is the best way to mix hi hats?
First, gain staging is important. Get the levels evenly balanced. Levels can sometimes be too loud or quiet, so it’s important to make sure all of the instruments are present and working well at a consistent level. Be patient when mixing hi-hats – they can be one of the last sounds to get adjusted. Another key factor to consider when mixing hi-hats is placement. They often sit in the background and should be given space to shine without being overbearing. Try to place them where they will serve their purpose effectively but don’t clutter up the mix unnecessarily.
What are hi hats and cymbals in audio mixing?
Hi hats are the highest pitched cymbals and cymbals are the lowest pitched. They can be used to create a variety of sonic effects. Cymbals can be used as an EQ lift, to add brightness and presence to a mix or as a sound layering tool. How do I mix hi hats and cymbals in audio mixing? There are a few tips for mixing hi hats and cymbals: first, make sure you have enough levels set for each instrument. Levels will vary depending on the intensity of the hit, so it’s important to have accurate levels set for each section of your mix. Second, think about where you want each sound to play in your track. For example, if you want the hi hats to sit high in the mix, place them near the top of the track. If you want them lower down in the mix, place them somewhere towards the bottom. Finally, experiment with different sounds and EQ settings to
How do I get better at playing hi hats?
There's no one-size-fits-all answer to this question, but practicing regularly and continuing to explore your playing will help you improve. Try different techniques, experiment with new sounds, and spend time practicing along with recordings of your favorite drummers.
How do you play a hi hat slurp?
Place your hand on the hi-hat close to the crown. When playing an upbeat, raise the top hat just a bit before closing it. For a downbeat, let go of the top hat at the bottom just as it starts to fall.
Can you lift a song by changing the hi-hat?
Yes, you can actually lift a song by changing the hi-hat sound. However, this will only work if you change the entire hi-hat part and not just the sound. For example, if you want to create a different sounding hi-hat section, you would need to replace the entire drum stick on the hi-hat.
Why is the hi hat so popular in music?
The hi hat is a percussion instrument that typically consists of two metal drumheads mounted on an oak or plastic stand. The drummer strikes the instruments together with one hand, producing a high-pitched ringing sound. In rock and pop music, the hi hat is often used to create the characteristic 8th-note hi-hat rhythm. The hi hat can also be used to fill in rhythmic information when no other percussion instrument is available, or to provide a supplemental beat when drums are played live.
Should I use a hi-hat in my Song?
It's tough to say - on one hand, acoustic instruments can breathe life into a song, while on the other hand programmed patterns can start to sound samey. Ultimately it comes down to what you or your client are looking for - if you want a more polished, tightly arranged sound, then hi-hats may be a good way to achieve it. If you're looking for a more spontaneous and live feel, then stick with acoustic instruments only.
Should you leave the hi hat on or off when playing drums?
There is no one-size-fits-all answer to this question, as the decision of whether or not to leave the hi-hat on or off will depend on the genre and style of music you are playing. However, if you are playing funk, soul, or reggae music, it is advisable to leave the hi-hat on, in order to create a chunky and soulful drum rhythm.
Are your hi-hats too loud?
Problems with hi-hat levels can occur if they are too loud. If your hi-hats are too loud, they will distort the sound of your drums and guitars. In addition, they can be distracting to your listeners. Try to adjust your hi-hats so that they are not overpowering the other instruments in the mix.
How do you make high-end hi hats sound better?
Adding modulation or reverb to the white noise sample will improve high-end detail as well. Another trick to excite filtered hi-hats is to slap on some saturation or distortion. While not exactly a “layer,” the added harmonics from these plug-ins will make the hats sound thicker, as if another sound was added to it.
Can you mix hi-hats?
1. Clean and lightly oil your hi-hats before use. 2. Place the hi-hat atop the cymbals. Practice tightening the head band if it feels loose or shaken during playback. 3. Push down on the hi-hat to create a "bounce" in the cymbals/guitar sound. 4. Maintain consistent contact with the hi-hats while bouncing and playing the cymbals/guitar strings. If you lose contact, it will be difficult to keep the percussion sound in sync. 5. Use a trick called the "Dallas Drop." Hold down one of your hi-hat legs and position it so that its heel rests on either side of the snare drum hoop. This reduces striking noise from hitting both drums at once, making it easier to mix with other instruments. 6. Move your hands around as you play, adjusting placement and technique as needed to achieve a
How to make a trap hi-hat sound good?
To make a trap hi-hat sound good, you should place them at the forefront of the mix in sync with the percussion. You can also use filters or Autofilters to ease the transition between the drums and hi-hats.
How do you pan hi-hats in a mix?
To pan hi-hats in a mix: 1) identify the stereo positions of the hi-hats in your kit; 2) move the hi-hats to their respective stereo positions; and 3) pan them to the sides.