Sound Radix Auto Ailgn how I use it on drums

[Music] [Applause] [Music] today I'm gonna do a video of sound radix is a auto-align phase alignment tool on drums a while back I did a session with a buddy Timmy Sean from LA he came here to town to track drums across three days and my buddy Nick Bertling was also helping assist and he was tracking drums for his album so I did two albums in three days forty some songs we used Nick's drum kit so the drums had some drum some phase issues I noticed as I was mixing them and Nick mixed his own he took his tracks with him and dealt with him his own way but I've had some clients and some other customers who I've mixed and they've asked me about phase alignment tools and how I do things and I told a couple customers and clients about Auto align so you can go to sound radix here sound radix com they got a bunch of awesome plugins but check out Auto align download the demo try it out yourself see what you think but some friends of mine downloaded they were questioning how to use it properly and how to go about this or that so I wanted to show my method so here's the raw drums that Timmy did and I'm not I don't have any plugins on them right now so [Music] okay they sound good Timmy's a great drummer the kit sounds good every time Nicktoons a kid it sounds great but I still have some phase issues because of Mike's just looking at each other basically so when I usually start with is I use the overhead is the guide track I've done this many different ways this is the most solid repeatable way that I've gotten good results you open up sound radix there are auto-align on the your overheads since it's gonna be the master that everything looks at make that descend and you make that channel one play the track I get my level about right around here [Music] now the sidechain is when you're reading something and nothing's coming into this so that's why you're only sending out so the first channel we're gonna work with is a kick inside this you'll see the sidechain now you set this to receive that same channel so we're gonna go channel one set the input about the same now you see the activity now you want to make sure it's on delay and polarity here so it does both not just delay and I mean listen you know you don't have to solo like it's not only listening to the things that solos because the fact that you assigned to channel one it knows to just look at it so I can actually turn the overhead off and it was still going to read it I leave them so load like this so I can clearly hear whether it flipped or not and before we jump into that real quick let me come back a step what I like to do my drum master our folder bus whatever you want to call it and whatever doll you have I use this free Vox and go box and go plug-in called span it's a spectrum analyzer but I use this phase correction meter down here to just look sometimes also before even open Auto it's gonna look positive when you just send to things like that but if you pan one like the kick to the left and overhead to the right play with the level a little bit you see it's kind of in the middle that's there's some out of phase hit that's the in between hits the actual hits look like they're in phase if I flip the phase you can see it's definitely one more negative now so it was more correct this way but let's try that kick drum inside or outside see now that is full more negative it would be better to flip this phase and get positive and that was something with the overhead you know but check this out the kick drum the kick drum inside and outside are out of phase with that flipped it was better this way so that but being off means I can have these two mics like I recorded them just fine and they work together but this outside doesn't work with the overhead they want to flip it it's solid but we already just found out it doesn't work for this it almost that sounds better but that's where you some guys so we're sacrifice they're like okay that sounds better just to flip it because you're hearing it on the kick drum the overheads might not be that loud in the mix so you might not notice it and you could do that but it's nice when you know your tracks even on the in between the hits just the ringing and all that that's in phase you don't want a tune only a couple of strings on your guitar you know and leave the other ones rattle out of tune so what we're gonna do is start with this kick drum inside and this overhead and auto line it's gonna do that in between stuff that just slip in the phase can't so we all set up we're sending on one receiving on one got our level set all you do is hit the TechEd I like to get more like say let's say first part to the street okay hit detect let it roll it takes a little bit of time for it to calculate sometimes you see it moving it's thinking and doing its thing there you go and say that to me even though that's 231 samples out but even though we checked the phase earlier you could see it going back and forth a little bit in spann it wasn't perfect we but it was definitely more positive than what the kick drum outside was that one of the be full negative but you could tell that it was just a little bit in between on the inside but this fixed it and then watching my flip it it's kind of hollow sounding and that's okay now we're on the outside mic which is the was the problem we just pointed out with the span and all so we're gonna receive on one again hit the let it roll it do its thing its calculator you can see its movement and sometimes you have to repeat these I've had to readjust the input now put gain a little bit just to make it more there's only two samples on this one but I felt they'd get punchy while I was talking hollow that's more focused and tight kind of like when we flip the phase here earlier except it's not 180 degree flip it's less of a flipping away them cuz the only thing this I believe if you noticed this is just a time because it's in samples but the polarity stayed fine it just shifted samples this one the outside when we were flipping it was working well right well that's what it detected too so it flipped its phase right here but it did shift it a little bit but only two samples so it's it's doing 180 degree flip what it needs to but it's also shifting in time a little bit so we know that they flip in the kick before work I'll turn this auto-align off right here [Music] follow tighter but let's try with Auto it's tighter but when we did this before with just a face button remember it didn't work with the kick drum so let's see if it works the kick drum now yep I took this off and took that off they sound fine it's nice and thick actually but that's how the phase was it overhead but now where it needs to be with your head okay now let's move on to the snare drum same thing we're gonna receive one channel one set our levels [Music] set our levels let it roll there you go that was pretty quick and I felt a good solid right there and let's go back to being off and also if you noticed on here as well it flipped the phase and it adjust the timing by 161 samples let me see if I can turn that up a little bit do this test again [Music] all right so you see it got tighter now we're gonna do the bottom once you get a system down to doing this it goes pretty fast I hope you can hear that - that was that filled in these little steps you're making that thud eNOS will next air that's super important EQ wise obviously I don't have to go when I start boosting low and then try to find something it's it's gonna be there okay I'm probably not even using the Hyatts much in the mix but like I said in reference to the guitar strings ringing even though the Hyatt might not be crazy loud the mix I want to if it's if I got it in a little bit it's gonna ring and do something I want it to be in phase and that flip the phase there shift it a little bit so let's listen to it because we weren't listening to it you guys if you weren't headphones or decent studio monitors xx sounds kind of stereo and washy watch up annoying okay it's focusing on things more now what a duel a rack Tom there we go it already sounds like that Tom's in phase to me when he hits it but I guarantee you if I was to do the span thing again there's spots words in hit washable Matt looks pretty good but this is gonna get all the in-between stuff and what he's not here [Music] adjustments sand on one then it seems straightforward now like I'm putting everything on one but you'll see there's times where I do some other things where I have to send it from another source I'll show you that you actually see it I [Music] can see it is a little Hollow in the bottom a little fuller so we're gonna go to the floor tom now try to move and there's there's a whole section here just ride to the floor [Music] let me do this [Music] here even here that snare fill that in a lot of times I'll have to cut out drum bleed because the drummer we're looking for a super-tight sound and I'll cut out all the bleed in between the hits but on other songs and other drummers I'll leave it in we kind of want that extra ring so I want that in phase if I'm going to keep it in the neck so the next one is this kick show this is a condenser mic facing straight at the kick drum right between the ride and the snare facing straight down and we trash I can't remember the mic pre but I think I used 1176 compressor to crush it okay that's pretty hollow sounding that makes it better just let straight up flip and I'm pretty sure on the kick drums it get better in some ways that way but then a deeper there you know it's there's it's in between now so let's see we can tighten it up locking to the overheads [Music] [Music] heard that right away now let's try that with that kick drum start off with it all yeah you hear all that bottom and got thick right there sounds pretty good that kick shell was active the snare mic to kick that cadets are facing straight down almost now it sounds like a complete catalyst okay so now we're left with we're not left with we have two more but we have the mono room light which I do remember was a Royer or 121 I don't remember the mic pre I may have been using my de-stressor on that squeeze it but I may not I don't remember we're gonna set that to 1 we're following the overheads at first again [Music] so I know I don't even have to do the spin I know it's gonna just there's times where since that Royer is facing the kick drum I usually blanket my kick drum with the mics covered up in this scenario we were in a bigger room that I just we decided when Nick and I set up the drum kit not to blanket it I think I'm pretty sure that outside mic was exposed so it's facing that Royer and there's been times where sending the room mic to follow the overhead on auto line doesn't work and what you need to do is sometimes tell it to follow another source like I'll tell it to follow that outside kick drum and I believe we did that on this room so we're gonna try the traditional way first this might be an example of something so we're gonna do overheads they're mean we're following the overheads as usual like we did on all the other stuff we'll see how this comes out this is the this was next to the Royer on the outside left and right to shore KSM 32 room mics 2530 feet away from the kids I do believe I can remember those went through a stereo to demeter mic pre which wasn't mine so I never use it I wanted to try it on that on the rooms it sounded good with the chaos [Music] [Music] [Music] [Music] yeah it's better one but let's just let's listen to kick drum [Music] [Music] so it could work I'm probably not gonna have it super laudanum in the mix so the whole kit right now I mean of course nothing is EQ yet I don't have anything done it sounds better but I still feel like this room mic is slamming a little so here's the other trick to try when you're not sure if it's lining up with that overhead sometimes like I said the rooms don't do that I think Nick and I if I remember I could be wrong we may have measured the outside kick mic to the room which I like to do sometimes but I felt like on this session this is a long time ago so it's fuzzy but I thought we measured from the snare to either that Royer or to the KSM s but since the Royer seems to be working fine I'm gonna change this what I'm gonna do now even though the kick top I mean snare top is following number one which is the overhead you can also tell it to sense that same source it'll come out on channel 2 now so now that snare top which is aligned to the overheads is now sending its signal over to the rooms and put this on to now now it's gonna receive what the snare is telling it let's see what our difference is [Music] [Music] see I flipped a phase but it's timing difference up here in clarity and samples is different now focus on that snare drum nail so nothing super mixed obviously there's no EQ nothing on this track okay so let's go back for a review and they turn all the channels of all to a line off there's money handed that T it's not terrible kick sounds okay you think snare is a little bit washed out in the background hi it's a little slushy all over the place but it feels stereo which how the phase can feel when you flip it and get that like really wide effect but you want drums and all the stuff tighter and focus let's put them on now [Music] [Music] and everything is following the overhead except this the rooms just weren't tight enough for me the stereo rooms that is the mono room was fine the stereo room I told that to follow the snare top and blocked it right in so anyway that's how I use Aldo a line please like and subscribe my videos I'm new to this video thing so I need to get some people following stuff so I can make more videos thanks for watching [Music] [Applause] [Music] [Applause]

Channel: In The Studio with Ronni Santmyer @BigBangAudio

Views: 701

Keywords: Sound Radix aUTO aLIGN HOW TO USE IT ON DRUMS, Sound Radix, Sound Radix Auto Align, Auto Align, phase, phase on drums, fixing drum phase, Reaper Auto Align, Timmy Sean, Ronni Santmyer, tightening up drums, checking phase on drums

Id: 99_wy6ARQuY

Length: 27min 28sec (1648 seconds)

Published: Wed Feb 26 2020