>Step by step

Consistently characterful drums

1

In the first step we’ll programme a techno-inspired drum groove. It consists of the following key elements: kick, hi-hats, drum top loop, low percussion and rumble. The BPM of choice is 128 to keep the energy peak time. All of the sounds are sourced from a variety of Audiotent sample libraries.

2

The drums are sounding good, but they lack cohesiveness as each sample comes from a different source. Different equipment and techniques have been deployed to capture the audio. Our aim is to use modern mixing techniques to bring all drum layers together. This results in a unified drum group with its own distinct character.

3

Let’s start by selecting all of the individual channels and sending them into one group (‘Techno Drum Group’). Before we go into the group processing, let’s get the mix levels balanced nicely. Otherwise, for example, if you have your kick drum way too loud against the rest of the drums, it will drastically influence how the rest of the processing will react.

4

One of the most conventional techniques you’ll find to make a group of sounds unified is to apply a reverb. This gives the listener the impression that all of the drums were recorded in the same space. We are not looking for a long, cathedral-like effect, rather a small room which we can dial using early reflections of the reverb.

5

Any reverb could work. We used our trusty Valhalla VintageVerb for unprecedented control over the early reflections of the reverb. Keep the decay time short: 20-80ms. We don’t want the group to sound unnatural, so we are using a mild amount of the wet signal. We’ve chosen an Audiotent preset for Valhalla VintageVerb called AT Aquarium.

6

Now that the common space is dialled in, let’s address the character of the drums using an emulation of a vintage EQ. We’re not trying to use a surgical EQ to fix any resonances. The aim is to use broad strokes (low Q values) to gently alter frequency balance. Note that a vintage EQ has a tendency to impart a certain colour which will help unify the drum group.

7

The EQ of choice is Universal Audio’s emulation of the Pultec EQP-1. We start by selecting a broad bandwidth setting, to give us the smoothest results. Next we add a small 1.5dB boost in the low end at 60Hz. Finally a generous boost of 4dB in the high frequencies at 5kHz.

8

Compression can be a powerful tool when seeking a cohesive drum group sound. Firstly, the compression helps to make the transients consistent. Secondly, some vintage compressors, by design, have input or output transformers or tubes that can radically colour the signal. This is more noticeable if the signal path is pushed harder.

9

One of our go-to tube compressors is the UAD Fairchild 670. Since our tempo is pretty fast at 128bpm, we choose the fastest setting so that the compressor has a chance to reset after each transient. Using high amounts of gain reduction can really affect the feel of the low-end. So we’re compressing moderately, a max of 1 or 2dB of gain reduction.

10

If compression introduces an undesired effect for your particular drum group – maybe the transients become too spiky – you could skip using a compressor and apply saturation instead. This will add the harmonic distortion required and level out sharp transients.

11

For saturation we use the very flexible Saturn 2 by FabFilter. This is the last stage of the processing and only a gentle touch of colour from the harmonic distortion is needed. Sometimes auditioning different presets can give you instant results. The Light Saturation preset from the Audiotent Saturn expansion bank was a perfect fit for the drum group.

12

When programming drums using a variety of sample sources, you run the risk of your drums appearing incoherent. To conquer this problem we can use tools such as reverb, broad vintage EQ, compression and saturation. These tools applied on the whole drum group will imprint a unique sonic character as well as making your drums sound unified.