All language subtitles for 2. Toms, distortion, EQ, drum buss, compression, multi-band limiting, transient design, phase relationships_EN

So Toms.

SansAmp again.

Let's see what I've got
going on here.

Let's see
what I had.

Okay.
Again, it's like SansAmp.

Distortion for me,
when I started using it, I liked it.

It was a replacement
for a room sound or a reverb.

Instead of having any ambiance,
even a live ambiance.

It brought the live ambiance up
in whatever I'd put it on.

So if it's a snare drum,
just like with a guitar,

it'd bring up all the noise
that you don't want sometimes.

With drums, the SansAmp,
or any distortion will,

I just prefer
the SansAmp.

And Decapitator is a good one too,
but this is what I've always used

from the days
of the guitar pedal.

And the plug-in is just... it's another
animal, but it's equally as good.

It tends
to bring up...

You can hear that there's some resonances,
you can hear some dirt on that,

and you can sometimes smooth
those things out or get rid of them

or make it
desirable in there.

If it's a cymbal and you have really
ratty top end, it'll often

smooth that out because it allowed
distortion to other frequencies around it.

And it'll just make it
sound sort of intentional.

See that.

That rattiness is now down lower,
I don't know, 1K now.

And I think that noise
sounds good at that frequency.

Let's see what I did
with the EQ.

I'm actually trying
to add some of it back in.

I'm taking
a bit of 10K off.

I'm trying to maybe
bring that noise out now here.

I mean,
bring it up.

And with this too,
with this 900.

You can hear that.

It's a necessary component
of the rhythm to my ear,

but that's distracting
to my ear.

I want it in there,
but I want it to be subversive.

Cooler.
I mean, sort of...

You know what, it sounds the....
all this guitar stuff,

it all sounds a bit sneaky
and mysterious to me...

as a vibe.

But those
sounds didn't.

So I think I was just
trying to make it more...

Actually, like a guy sneaking around
in an alleyway trying not to be seen.

And also, it gave a little bit of length
in between those Toms.

So you could hear that they were there
even though they didn't have that top end.

Cymbals.

Did nothing to them except what's
happening on the drum bus,

which, of course,
is going to be quite big.

First huge thing.

It's often, like with the Devil-Loc,
this is a model of the Shure Level Loc.

The interesting thing about a Level Loc,
the way I started using it,

which I don't think anybody's done is,
that it was a mic-level compressor.

I wasn't sending it
off a desk.

I ended up doing
that with pads

because I blew my first one up immediately
when I tried to do it off the desk.

I didn't realize
it was mic-level.

And the TV repair man who fixed it
said, "What did you do?"

And I told him.
He says mic-level.

I started using it mic-level,
just plug a mic into it

and then that
into a mic pre.

And it used to be out
with the drummer in the studio.

I'd have to go out there and set it or if
it was Jerry Morada [SP] or Pete Thomas,

they got into setting it themselves
because it changes the way you play.

And I love the sound of it.
Just snuck in a little bit.

You can see
that my...

It's doing a lot
at a very low setting.

Although the setting's
quite high.

I don't normally get up
into that number five region.

It's also
quite high.

I will often just sneak it in in such
a small degree, but it's enough

for it to give you
an excitement factor.

I know this isn't a clean sound,
but I'm not going to rewrite it.

I'm just going to leave
it and just say...

so I can get back to it
and I can show you.

If I do take
everything out here.

Okay, that's a good bypass.
Right?

I mean,
that's pretty...

I often use it
just like that.

Just the tiniest little bit
of pushing up.

You can hear the snare
get a little bit crunchier.

Does another thing again.

Hear the length
on the snare?

And that's without starting to use the
parameters they give you to build a sound.

So, I, usually...like I said,
my starting point is probably here.

You can see
how subtle that...

But it definitely gives
the snare drum way more energy.

You hear
the room reacting.

Whatever that is on that
snare drum, whatever that...

I mean, what you can do with this,
especially not using it as a sledgehammer,

but as just a contour
or energy machine.

Just a little bit
snuck in there.

It's usually what I've done
with SansAmp additions

and my crunchy
compressor additions.

The Omnipressor, sometimes I use that
on cymbals to mimic a Level Loc

or a Spectra Sonic 610.

it's not like
the sledgehammer comes...

It's really just to give it a little more
length and a little extra oomph.

And the minute I bring
it up and I hear it,

and then I usually back
it off a couple of dB.

And then start muting it to see
what difference it's making.

And it's usually making the difference
that it's doing what I want it to do

at that level.

So what it ends up meaning
a lot of the times...

especially with live drums, I don't
usually then compress it afterwards.

I am here,
we'll get to that.

Which this is a compressor
over the whole drum kit.

Often, with live drums,
I never get a compressor.

I don't have any
compression.

If I record the drums,
I don't compress them.

And I don't compress
them in the mix.

It's all done with additive
or parallel.

Until the stereo bus.

And then I smash
the fucking shit out of it.

Let's see what some of these
other things are doing.

Maybe I should...
Let me take everything out for a second.

So I don't remember exactly,
but I probably would've done this

to a lesser degree like I showed you,
where the mix control was lower.

And then I probably
would've put...

This, I wouldn't
have had out.

But that's...

99 times out of 100, I don't use
any compression or limiting in this thing.

That will not
be happening.

I thought it needed
more in this case.

Oh, well, there we go.
Okay.

So I might have had
this in from the get.

Because that looks more like
what I would have.

That's normal for me.

And I just use this
for extra EQ, no other reason.

I can just quickly
EQ a section of the...

And I have another EQ here,
but I just really like this

for the top end,
but I'm not using it on this.

What did I do here?
Anything?

No, I didn't
use that either.

But something like the drum bus, I have
all this stuff on except for the Trans-X.

Because even just turning that on
can switch the phase relationship

between my sample,
which is going to the Mix Bux,

which maybe I should have
started saying that like these sounds.

I have in the Mix Bux because I don't want
that sub affecting the Devil-Loc

and squishing things
for the rest of the kit.

So I, most often, keep
my samples in the Mix Bux

and then I have
the kit going here.

This usually, I have in because if it's
deactivated and then I activate it,

I got to go through and figure out
what it's done to my phase.

But it also changes
a relationship when it's there.

Just not as much
it seems.

And when I turn it on,
let's see.

I hear something but it's probably
just what I was trying to get out of it.

You can see, I shortened
the release here a bit.

It's got a little curve to it,
but it's pushing those transients a bit.

But I think
the main thing...

...is just cleaning up the tail end,
the release of it a little bit.

That makes it sound
more aggressive to me.

Let's hear here
without the samples.

I think I'm hearing that.

It's just another
component in there.

I hear the pitch drop a little bit in that
midrange, which I prefer over the clicky.

And then
when this comes in.

There's that thing where...

That sounds
like glue to me, it just...

I just thought of this the other day
and I was mentioning it to some people,

the early home cinema speaker systems that
you could buy for practically nothing,

they were $100
or something.

And you'd get
these little cubes.

And I don't think there's anything
below one K on them.

They're just mid-range
and top end.

And not all there
even in that range.

It's like some real scoops
and real peaks and valleys.

And then you had a subwoofer,
which may be incorporated 120 down,

150 down, maybe 100 down.
I'm not sure.

But I could never tell
because the room plays such a...

your living room plays such a big deal
in those things.

But I never could understand why it
sounded all right when you had both,

but if the speakers weren't on
and you heard the subwoofer...

And then if you just listened to
the little speakers,

it sounded like a transistor radio
with nothing below 1K.

But then you put them both together,
it's like, oh yeah,

I hear all the dialogue,
500 hertz, 800 hertz.

And all that stuff above that sounded
really notched sounds smooth.

What is that?

I don't know enough
to tell you.

But I hear that here.
This is...

There is a mid-range
component in.

But I don't know.

Phase relationships
and adding it all together,

I hear the pitch of that drop a little bit
when it's with the supplied kit.

Because when I solo that,
it sounds a little higher

than I would've thought.

Put it together, whatever phase,
I might have flopped the phase to do that,

or maybe
it came up.

What often happens with me
is when I don't have the Trans-X in,

I do have to flip
the phase of my sample.

Let's see.

You know what, I can't tell
what I'm hearing there actually,

but I'll explain to you.

I mean, what does happen, I'll often
put that in and my sub will go away.

And I'll just come up and flip
the phase. But I also use phase.

I've explained this before, but maybe it's
good just to quickly go over it again.

I don't look at phase like
a maintenance tool, a correction tool,

it's just is an extra button
on your EQ, and it is EQ.

It's almost like an algorithm switch
or something where you have all this stuff

on your EQ that you can play with
and do your sounds.

But if you flip the phase, then it's like
it's using a different algorithm.

It sounds
completely different.

But then you can go through and EQ it
like it's a whole different EQ.

It's a whole nother
set of sounds.

So there's really maybe in wires,
in the electronic world,

there's reasons to think about it
in a technical fashion.

But I don't see any reason to think
about it in... like listening

and the sound
of the mix.

There's been so many times I've flopped
the phase and all the low end went away,

but the sound
sounded better.

So I think most people,
if the low end goes away,

"Nope, nope,
that's out of phase, boom."

Flop the phase and you take
a big fat snare and you might...

if you have the two mics, relative sound,
you can make a snare sound like

it's a Piccolo snare,
which may be desirable

with the kick drum
and SansAmp,

and then playing with high pass filters,
which also alters phase relationships.

It's a whole nother pallet of sound to
listen to your EQ and then flip the phase.

And then try listening to your EQ again,
doing different stuff,

because it may be that you want it out
of phase and then EQ it to fit the track.

So it's just another button
that doubles up the power of your EQ.

All the EQs, by the way.
That's why I just...

I don't like using EQs
that don't have a phase button.

Because I don't want to have that
as a plug-in on...you know.

I just want to put on an EQ,
start messing with it,

and then flip the phase, mess with it,
now flip the phase back.

If I have to do two plug-ins,
it's a big deal when you have to do that

over and over
when you're mixing.

It's a convenience factor having
to put either two plug-ins or one.

I'll go for the one
that has the phase button.

So that's why
if you see API EQs here.

There's other
APIs I like.

But this one was the first one that had
a phase button that actually gave you

your line-in pre-channel with the EQ,
instead of just giving you the EQ.

Because on an API, the EQ
didn't have a phase button.