next were the Tom's and again to avoid having playback areas while I was
working on this song because it's at 96 K there were a lot of tracks a lot of
plugins going on at one point I've frozen these tracks all they had on them
were gates there's nothing super exciting about that Tom's are going to
stereo aux which I will now unmute and let's sew up the Tom's really well
recorded they get used a couple of times for fills in those spots they need to be
very very loud and what they had been doing was they had a studio reverb which
I took off one of the few times actually got rid of some of their processing they
use the CLA drums plug-in which worked really well well that's quite a bit of
the tone and I would normally do this with something like pull tech things
like that and I think I may have actually rerouted back into my pull tech
so this is something that they had used
it's almost scooping them out which is actually kind of cool this feeds into
this idea of stadium drums this is much more like toms through a PA as opposed
to a natural sounding closed mic I think it's what really makes the drums work on
this song in a really interesting way after that little bit EQ to bring out
some attack then they had actually added a bit of hundred just to get some more
low-end so it's all about this low resonance ringing but what's great about
the way the toms are tuned is it's actually very controlled there's a
beautiful decay to this low-end as opposed to it just ringing which can
happen especially in a drum pattern like this the length of the Tom's is really
cool and the EQ is what's really helping make that length from there the toms are
being routed into the Tom track from my template which is adding yet more 100
Hertz just with a different pull tech model and some 5k
it's really just taking the sound of the toms that they had gotten and going
further with it what this l2 does is it allows me to
make the toms louder in the balance of the kit without there being these huge
spikes that are then going off to the drum compressors because I don't want
the Tom's to necessarily obliterate the rest of the kit but they need to be loud
and they've got to cut through the cymbals so this l2 just sort of keeps
them in check while also giving me a place where I can just crank this
threshold slider around and get more level out of them without having to just
turn them up it's just a different way to do it and then I am sending them off
to my Tom reverb and so I got rid of their studio verb in place of my reverb
sort of doing the same job but this is again kind of a stadium reverb so
without the reverb it's a little bit of that grainy almost nonlinear ambience
and I'm getting that out of an ambience preset on revive and I'm filtering on
the way in in case there's some cymbal bleed and I'm doing a bit of pitch
shifting on the way out and that's what gives it that sort of PA stadium thing
as opposed to just a nonlinear reverb use this on almost every rock track that
I do to varying degrees it'll be very quiet on a quieter track because I don't
want you to hear the pitch shifting I just want you to get the sense of size
and when we get to the breakdown of the song over here where the Tom's are
really busy
that reverb makes a huge difference in the feel of the kit instead of you
feeling like you're sort of sitting next to the drummer you feel like you're in
an arena with the drummer which on this song was absolutely the point