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The last thing I do in a drum fix is for my ears. I find this stepincredibly useful. Since we're dealing with a source that has beenshifted in degrees, we can see if there are any other areas that arenodding out of phase. Once I get a good grasp of the overheads, Iclick them out for a bit. This isn't a time to make elaborateprofiles, but it is a time to get a feel for the drums as a whole. Itcould be that, for a certain drum, one over takes another. It'simportant that I get a handle on the feel of the drum. Like anyother recording, there may be room for improvement. We'll see whatI find in the mix.
Once that's done, I move on to a piece of the drumthat has a few wrinkles in it. I listen to the whole thing againand see what else I hear. There are other drums that may be complicatingthe main drum, in terms of creating a dense, low foot. This canrange from a chime from the ride cymbal being too bright, as ishown on the right, to the tap cymbal having an annoying, skippy,choppy noise. This can be caused by a lack of signal in certainareas of the drum, which isn't getting enough isolation between thecymbals.
A few nice things to remember when working with different cymbalsis that they are very relative in their overtones. You wontheir true depth; you need to compensate for that. Super-bright cymbals are more spread out, and thus deeper, thancomparatively dull ones. That being said, you dont want to chase theproblem. Generally, I find it best to use a cymbal with a nice diffusionoverhead, which creates a more encompassing feel to the over head.
A cymbal with a nice diffusion over head will create a moreencompassing feel to the over head. This will help the soundsthemselves to sound more useful and full, creating a solid foundation for the rest of the instruments. d2c66b5586