In part one of “Drums: The Skeleton of a Track,” we discussed recording techniques utilized during the drum tracking process. In this entry, we'll move on to mixing. I make sure to keep the mixing process in mind throughout tracking; this allows for maximum efficiency, as the drums are generally in place as we move on to mixing. At this point, the tracks should be balanced with proper panorama (panning). I always begin with the faders in Pro Tools at preset levels. The kick at 0dB, while the snare is at -2.5, and the toms, hat, overheads and rooms are at -10. I find that this is a good starting point for the drum mix, as these levels are approximately where I start and end up balance-wise. They will, however, change slightly throughout the mixing process as I always try and balance things to tape (although in this case it’s no longer tape but Pro Tools). I set and balance the input signals via mic pre gain, and if I’m mixing on a large format console, I’ll also use the onboard automation to ride faders for important dynamic changes such as solo sections, fade outs, etc. I prefer metering the input signal on VU meters verses digital meters if possible, looking for 0dbm signals for kick and snare, with the toms peaking around +1 to +3 dB (as long as they aren’t peaking in Pro Tools). Hi hat around -10 and overheads normally around -7 dB. It's important not to rush the balancing process: how you set with drums in this part of the mix will affect how you blend the rest of the tracks together, so take your time. I always spend time listening to the drums to make sure they have a great balance (nothing should be sticking out too much) and are in phase. Phase issues are especially important for the hat and overheads. This can be checked by A/B listening in and out of mono. If the cymbals sound muffled or off in some way, they may be out of phase. Also, of major import I always have the drummer play straight time without the hi hat and in the overheads the snare MUST appear exactly in the center of the stereo image. Then I have him play time with the hi hat and I add the hi hat mic and balance it taking it in and out until I get the desired presence I like. All in all, when I listen to the drum mix, I like it to sound the way it would if the drummer were right in front of me: huge, punchy, open, and natural. When panning the drums, my rule of thumb is to use the audience’s perspective, which would be how the kit would sound if you were listening to it at a live show. This means the kick and snare should be in the center, with the high rack tom and hi-hat on the right and the floor tom and ride on the left. The overheads should be panned so that snare is dead center. For panning the hi-hat, I listen to the overheads with the hi hat track muted and find where it sits, then move it there and mute and un-mute to make sure it sits in the same place. A great hi hat sound shouldn’t feel like its moving and should make the kit sound fuller than without it. I pan the high and low toms hard right and left respectively, while the mid tom sits in the center. If room mics are used they should be panned in alignment with the overheads. Over the years, I’ve developed my general method for EQing drums, which is listed below. These settings can remove some of the muddiness from the kit, deepen the bottom end, and allow the kit to breathe and sound even fuller and more natural. I typically EQ using API 550A’s, but these settings will translate on other EQs as well.