SPIFF is a self-described “adaptive transient processor” meaning that it analyzes incoming signal and applies processing only to the components of the sound that you want. Used on highly percussive sources like drums, however, is where SPIFF truly shines. I use it to add pluckiness to bass, remove unwanted mouth clicks, or completely mangle synthesizers. SPIFF is an amazing transformative tool for altering the punch and tonality of recordings. Here are the plugins I most oft Play Video 2. Note the parenthetical - while the goal is to get the drum set working as a cohesive whole, it requires a lot of attention to the individual pieces of the kit to achieve that. If my cymbals (found predominantly in the overheads and rooms, which are heavily panned) are clashing with double-tracked wide electric guitars, I can manage that relationship by focusing in on the sides with the Pro-Q 2 and making adjustments as needed.ĭrums can simultaneously be the most challenging and rewarding musical instrument(s) to mix.

If I notice that my snare is conflicting with the vocals, or kick is masking the bass, of course I can apply processing on those individual tracks, but it’s helpful to have another level of control in using Pro-Q 2 to boost or attenuate material that sits straight up the middle (kick and snare). When I near the 80% complete mark on a mix, I begin dedicating time to processing my busses. I use Pro-Q 2 on the drum buss in mid-side mode. If I’m trying to impart color and character onto drums, then I’ll likely reach for an analog emulation, but for removing unpleasant resonances and rings (something very common in lower-budget drum recordings) and other applications that require surgical precision, the Pro-Q 2 is my go-to. The bands and bell shapes are incredibly malleable, the GUI is beautiful and packed with a wealth of valuable information that helps me make informed decisions, and the sound is transparent. I generally use the Pro-Q 2 as a subtractive equalizer - either by filtering out messy low-end, superfluous high frequencies or by using individual bands to hunt down and remove unwanted rumble, boominess, boxiness, harshness, sizzle - and whatever else. The ultimate non-analog emulation equalizer is found all over my mixes, including on drums, as it’s my absolute utility for “problem-solving” and ensuring that the different kit pieces play nice with each other, and with the other elements of the mix. Here are the plugins I most often reach for when mixing drums, with some insight as to how I use them: 1. Drums can simultaneously be the most challenging and rewarding musical instrument(s) to mix.

Best uad plugins for drums