{"id":5650,"date":"2020-09-28T16:53:51","date_gmt":"2020-09-28T16:53:51","guid":{"rendered":"http:\/\/alessandrofois.com\/prodotto\/registrazione-editing-e-mix-della-batteria\/"},"modified":"2025-12-11T10:13:05","modified_gmt":"2025-12-11T10:13:05","slug":"recording-editing-and-mixing-of-the-drums","status":"publish","type":"product","link":"https:\/\/alessandrofois.com\/en\/prodotto\/registrazione-editing-e-mix-della-batteria\/","title":{"rendered":"Drum recording, editing and mixing"},"content":{"rendered":"
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DRUMS RECORDING, EDITING AND MIXING<\/h3>\n

Author: Alessandro Fois<\/strong><\/p>\n

Contributions outside the text: Salvatore Corazza<\/strong><\/p>\n

Preface: Agostino Marangolo (Pino Daniele's "historical" drummer)<\/strong><\/p>\n<\/div>\n

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Format 21 x 29 cm (A4) \u2013 Page 294<\/strong><\/p>\n

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Preface by Agostino Marangolo<\/h2>\n
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Many professional recording studios have gradually ceased operations due to the recording industry crisis and the advent of low-cost digital recording. Consequently, the number of drummers, even professional ones, who record at home in their own more or less professionally equipped home studios has increased.<\/i><\/p>\n

With the publication of this book Alessandro Fois seizes a propitious moment to support the nascent phonic competence of musicians, a subject which until now has been the prerogative of\u00a0 <\/span>professional sound engineers only.<\/i><\/p>\n

Personally, I found this "Manual" of his very interesting, especially in the chapter dedicated to recording where Alessandro, with great scrupulousness and without presumption, accompanies the reader through the various possibilities of positioning the microphones, managing the phases,\u00a0 <\/span>and so on.<\/i><\/p>\n

The book clarifies many obscure technical points that we drum professionals often fail to fully understand, sometimes forcing us to turn to a more competent sound engineer.\u00a0<\/span><\/i><\/p>\n

Alessandro, on the other hand, resolves any doubts through an effective exposition, leaving nothing out, leading us first to various topics of basic culture of the instrument (which also includes tuning criteria) and then to a large section of the book dedicated to the sonic management of the drum kit, through the various phases of recording, editing and mixing.<\/i><\/p>\n

The book is written with great clarity and focuses on every detail of the subject, so both amateurs and professionals have a lot to learn, to properly set up their home studio and to acquire or improve their know-how.<\/i><\/p>\n

Therefore, I highly recommend it to novice sound engineers and advanced home studio operators, as well as to drummers, even professional ones, who intend to try their hand directly at recording and processing the sound of their instrument.<\/i><\/p>\n

Over the course of my career, I have recorded more than 350 albums in the best studios, from Milan to Capri, using the most skilled Italian and foreign sound engineers. In the pages of this book, I have found the same sound concepts, explained with expertise but also with relative simplicity, and I am convinced that it will be helpful to people who are not fully familiar with the criteria and tricks of the trade.<\/i><\/p>\n

Agostino Marangolo<\/i><\/b><\/p>\n

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INDEX<\/h2>\n
\n

Introduction 6<\/i><\/strong><\/p>\n

Preface by Agostino Marangolo 6<\/p>\n

Author's Biography 8<\/p>\n

Biography of Salvatore Corazza 10<\/p>\n

Author's Notes 12<\/p>\n

Acknowledgements 13<\/p>\n

Index 14<\/p>\n

Part A\u00a0 <\/span>*\u00a0 <\/span>General Culture on Drums 23<\/b><\/p>\n

A BRIEF HISTORY OF THE BATTERY 25<\/b><\/p>\n

Multicultural Roots 26<\/p>\n

Percussion in ancient times 26<\/p>\n

Use of percussion for military purposes 27<\/p>\n

The Nineteenth Century 28<\/p>\n

The modern battery 29<\/p>\n

The invention of the bass drum pedal 29<\/p>\n

Advent of the Hi-Hat 31<\/p>\n

Modern Drums and Jazz 32<\/p>\n

The modern set 32<\/p>\n

The 1940s and be-bop 33<\/p>\n

The Rock Era 34<\/p>\n

The double pedal and customizations 36<\/p>\n

Electronics 36<\/p>\n

DRUM SET 39<\/b><\/p>\n

Elements of the Acoustic Drum Set 40<\/p>\n

Bass drum 40<\/p>\n

Snare Drum 41<\/p>\n

Tom Tom 43<\/p>\n

Floor Tom 44<\/p>\n

Hi-Hat 45<\/p>\n

Crash Cymbal 45<\/p>\n

Ride Cymbal 46<\/p>\n

The 46 Chopsticks<\/p>\n

Stool 49<\/p>\n

The mechanics 49<\/p>\n

How sound is produced 50<\/p>\n

The vibration of the skin makes the entire drum sound. 50<\/p>\n

Tuning changes the sound 50<\/p>\n

Different tuning notes 51<\/p>\n

The relationship between diameter, depth and sound 52<\/p>\n

Various types of sets 53<\/p>\n

Rock & pop 53<\/p>\n

Jazz 53<\/p>\n

Fusion 54<\/p>\n

Heavy Metal 54<\/p>\n

Country 55<\/p>\n

Electronic and\/or Hybrid 55<\/p>\n

Construction features 56<\/p>\n

Wood 56<\/p>\n

Building 57<\/p>\n

Finishing 60<\/p>\n

Circles 61<\/p>\n

TUNING AND SETTING UP THE DRUMS 65<\/b><\/p>\n

The correct setup 66<\/p>\n

How to tune drums 66<\/p>\n

The TomTom 66<\/p>\n

Sound Check 70<\/p>\n

Let's tune the other drums 70<\/p>\n

Bass drum 71<\/p>\n

Snare Drum 71<\/p>\n

The dampening of the drums 73<\/p>\n

Snare Drum Damping 73<\/p>\n

Tom tom damping 74<\/p>\n

Bass Drum Damping 74<\/p>\n

RHYTHM AND NOTATION 75<\/b><\/p>\n

Rhythm and Groove 76<\/p>\n

The 76th cadence<\/p>\n

Accents, lines and movements 76<\/p>\n

Subdivision of movements 77<\/p>\n

The Groove of the ensemble 79<\/p>\n

Dynamics, punctuation, poise 80<\/p>\n

Musical notation for the drummer 82<\/p>\n

Drum sheet music 82<\/p>\n

Part B\u00a0 <\/span>*\u00a0 <\/span>Drum Sound Treatment 87<\/b><\/p>\n

ACOUSTICS 89<\/b><\/p>\n

Acoustics of the recording room 90<\/p>\n

First reflections 90<\/p>\n

Standing Waves and Bass Traps 92<\/p>\n

Flutter echo 94<\/p>\n

Battery position for microphone pickup 95<\/p>\n

Reverberation times 97<\/p>\n

Mobile panels and screens 97<\/p>\n

DRUMS RECORDING 99<\/b><\/p>\n

Multi-microphone recording 100<\/p>\n

When to use multi-mic recording 100<\/p>\n

Time lags and transients 100<\/p>\n

Drum Kit Shooting Methods 101<\/p>\n

Method A \u2013 Mono Panoramic Shooting 101<\/p>\n

Method B \u2013 Phased stereo panorama recording 102<\/p>\n

Method C \u2013 ORTF 103 Stereo Panoramic Recording<\/p>\n

Method D \u2013 Stereo spaced panoramic shot 104<\/p>\n

Method E \u2013 Mixed method with Close Mics 108<\/p>\n

Method E1 \u2013 an environmental variant of the Mixed Method 112<\/p>\n

Conclusion 112<\/p>\n

The shot with close mics 113<\/p>\n

Bass Drum 113<\/p>\n

Snare Drum 116<\/p>\n

Toms and Timpani 119<\/p>\n

Hi hat 120<\/p>\n

Ride 121<\/p>\n

Other dishes 122<\/p>\n

Choosing the shooting technique 123<\/p>\n

Timing 125<\/p>\n

DAW Settings 128<\/p>\n

Bit 129<\/p>\n

Sampling rate 131<\/p>\n

Sound card 132<\/p>\n

Input channels 132<\/p>\n

Audio quality 135<\/p>\n

Latency Management 136<\/p>\n

Items that burden the CPU 136<\/p>\n

Latency during recording 137<\/p>\n

Organizing tracks on DAW 138<\/p>\n

Example of track organization 139<\/p>\n

Headphones and monitoring for the drummer 141<\/p>\n

The drummer's headphones 141<\/p>\n

Headphone and preamp impedance 143<\/p>\n

Analog and digital level management 146<\/p>\n

Analog input path 146<\/p>\n

Analog output path 155<\/p>\n

Phantom Processors 155<\/p>\n

Advantages and disadvantages of Ghost processing 156<\/p>\n

Guide tracks, clicks and pre-production 157<\/p>\n

Playing in ensemble or overdubbing 157<\/p>\n

Click 158<\/p>\n

Guide track 158<\/p>\n

Pre-Production 158<\/p>\n

Rhythmic balance of the guide track 159<\/p>\n

Click Balance 160<\/p>\n

Help the drummer 161<\/p>\n

Le takes 161<\/p>\n

Hook and Insert 163<\/p>\n

Final evaluations 164<\/p>\n

DRUMS EDITING 165<\/b><\/p>\n

Let's discover audio editing 166<\/p>\n

Editing Techniques 166<\/p>\n

Selection and editing takes 167<\/p>\n

Insert registration 173<\/p>\n

Surgical assembly 174<\/p>\n

Timing 175<\/p>\n

Cut & Move 176<\/p>\n

Time Stretching and Time Expanding 176<\/p>\n

Cleaning 182<\/p>\n

USING GATE 183<\/b><\/p>\n

What is Gate 184<\/p>\n

Considerations for using Gate 185<\/p>\n

Gate 186 controls<\/p>\n

The Gate for the 190 battery<\/p>\n

The Gate in Double-Miked Drums 190<\/p>\n

The Gate for Toms 191<\/p>\n

The gate for the bass drum 195<\/p>\n

The gate for the snare drum 197<\/p>\n

The gate for dishes 199<\/p>\n

The gate in purist music 201<\/p>\n

THE BATTERY MIX 203<\/b><\/p>\n

Phase shift of HPF and LPF 204 filters<\/p>\n

Preventive equalization 206<\/p>\n

Preventive EQ for 208 drums<\/p>\n

Bass Drum 209<\/p>\n

Double track 210<\/p>\n

Bass drum sound 212<\/p>\n

Pre-EQ for the bass drum 213<\/p>\n

Mix EQ for the Kick Drum 217<\/p>\n

Dynamic Control 225<\/p>\n

Pan-Pot 238<\/p>\n

Reverb 238<\/p>\n

Snare Drum 239<\/p>\n

Double track 239<\/p>\n

Preventive equalization 242<\/p>\n

Mix Equalization 246<\/p>\n

Dynamic Control 251<\/p>\n

Pan-pot 258<\/p>\n

Reverb 258<\/p>\n

Hi Hat 259<\/p>\n

Preventive equalization 260<\/p>\n

Mix 260 Equalization<\/p>\n

TomTom and Timpano 262<\/p>\n

Double track for each drum 262<\/p>\n

Preventive equalization 263<\/p>\n

Mix Equalization 264<\/p>\n

Dynamic Control 270<\/p>\n

Pan-pot 274<\/p>\n

Reverb 275<\/p>\n

Overheads 276<\/p>\n

Environmental Recovery 278<\/p>\n

Stressed Dums 278<\/p>\n

DRUMS STEMS IN MASTERING 281<\/b><\/p>\n

What is Stem Mastering 282<\/p>\n

Addition, Subtraction, and Substitution 283<\/p>\n

Additive use 284<\/p>\n

Subtractive Use 284<\/p>\n

Replacement Use 284<\/p>\n

How to properly export stems 285<\/p>\n

The basic rules 286<\/p>\n

Checking the stems 287<\/p>\n

Stems mastering with Bus 288<\/p>\n

Appendix 289<\/i><\/strong><\/p>\n

Monitoring Warnings 289<\/p>\n

Conclusion 291<\/p>\n

Contacts, Consultations and Licenses 291<\/p>\n

Websites 292<\/p>\n

Copyright 293<\/p>\n

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Biography of Agostino Marangolo<\/h3>\n

Agostino Marangolo was born into a family of musicians in Catania on June 25, 1953.<\/p>\n

In 1969 he formed his first musical group, \u201cFlea on the Honey\u201d and later played with \u201cEtna\u201d.<\/p>\n

In 1974 he joined \u201cGoblin\u201d, with Claudio Simonetti and Massimo Morante, where he remained until 1980.<\/p>\n

In the same year he collaborated with \u201cNew Perigeo\u201d, together with Giovanni Tommaso, Danilo Rea, Maurizio Giammarco and Carlo Pennisi.<\/p>\n

In 1976 he recorded some songs with the Neapolitan band \u201cNapoli Centrale\u201d that would later become part of their second album called \u201cMattanza\u201d.<\/p>\n

He collaborated with Pino Daniele for the recordings of the following albums: \u201cPino Daniele\u201d (1979), \u201cNero a met\u00e0\u201d (1980), \u201cMusicante\u201d (1984) and \u201cSchizzechea with love\u201d (1988) where Agostino Marangolo was joined by the American drummer Steve Gadd.<\/p>\n

He also took part in some tours of the Neapolitan artist Pino Daniele: \u201cSci\u00f2 Live\u201d (1984) and \u201cRicomincio da 30\u201d (2008).<\/p>\n

He has collaborated with Bruno Lauzi, Johnny Dorelli, Donatella Rettore, Angelo Branduardi, Antonello Venditti, Don Backy, Teresa De Sio, Eduardo De Crescenzo, Gigi D'Alessio, Anna Oxa, Riccardo Cocciante, Enzo Carella, Nino Buonocore, Riccardo Fogli, Edoardo Bennato, Niccol\u00f2 Fabi, and Bungaro. Agostino Marangolo is an Evans endorser.<\/p>\n

\n<\/div>\n<\/section>\n
\n
\n

Biography of Salvatore Corazza<\/h3>\n

Drummer, Teacher and Producer<\/strong><\/p>\n

He provided various authorial contributions to this book\u00a0<\/strong><\/p>\n

PERFORMANCE ACTIVITIES<\/p>\n

In the studio with:
\nAndrea Bocelli, Giorgia, Alex Baroni, Mike Francis, Paola Turci, Nini Rosso, Claudio Simonetti, Geg\u00e8 Telesforo, Ben Sidran, Roberto Murolo, Banco del Mutuo Soccorso, Riccardo Fogli, Baraonna.<\/p>\n

Tour around the world with:<\/p>\n

\u201cIl Volo World Tours\u201d (for 4 years), Renato Zero, Andrea Bocelli, Ornella Vanoni, Fiorella Mannoia, Riccardo Cocciante, Mike Francis, Irene Grandi, Amii Stewart, Geg\u00e8 Telesforo, Nini Rosso.<\/p>\n

Orchestra conducted by Maestro Renato Serio for \u201cChristmas in the Vatican\u201d, for seven years with:<\/p>\n

BB King, Manhattan Transfer, Randy Crawford, Mirelle Mathieu, Dionne Warwick, Miriam Makeba, Tom Jones, John Denver, Los Del Rio, Shola Hama, Nek, Spagna, Massimo Ranieri, Pooh, Gino Paoli, Amedeo Minghi, Patty Smith, Annie Lennox.<\/p>\n

With the \u201cJubilee 2000\u201d orchestra:<\/p>\n

in Mondo Visione at Tor Vergata (Campus of the University of Rome) with 2,500,000 spectators.<\/p>\n

In the orchestra for various television shows:<\/p>\n

\u201cViva Napoli,\u201d 3 editions with Maestro Peppe Vessicchio (featuring: Loredana Bert\u00e9, Marcella, Mia Martini, Mango, Mariella Nava, Fausto Leali, Riccardo Fogli, Edoardo Bennato)<\/p>\n

"Domenica In" and "Numero Uno" with Maestro Pippo Caruso<\/p>\n

\u201cFinally Friday\u201d (Jonny Dorelli) with Maestro Augusto Martelli<\/p>\n

\u201cCarramba\u201d with Maestro Tony De Vita<\/p>\n

\u201cLa Corrida\u201d with Maestro Pregadio<\/p>\n

\u201cMaurizio Costanzo Show\u201d for 4 years with Maestro Demo Morselli<\/p>\n

Orchestra \u201c150 YEARS\u201d (RAI) with Mario Biondi, Serena Autieri, Amii Stewart, Max Gazz\u00e8, \u201cChristmas in the Vatican 2017\u201d: Annie Lennox, Patty Smith, Alex Britti, Enrico Ruggeri.<\/p>\n

EDUCATIONAL ACTIVITIES<\/p>\n

He has taught and still teaches in various contexts:<\/p>\n

Timba Schools, the historic Latin percussion school of the Roman capital
\nPercento Musica, one of Rome's most accredited professional schools.<\/p>\n

Organizer of the Master Class in 10 Italian cities with Gary Chaffee, one of the most important references for drum teaching in the world (Berklee College of Music Boston) and with Peter Erskine (Weather Report).<\/p>\n

PRODUCTION ACTIVITIES<\/p>\n

He was the creator and producer of the Musica per i Borghi festival, for 10 years from 2003 to 2013 with the artistic direction of Maestro Vessicchio<\/p>\n

Cast:<\/p>\n

Ornella Vanoni, Giorgia, Pino Daniele, Mario Biondi, Fiorella Mannoia, Tosca, Edoardo Bennato, Max Gazz\u00e8, Concato, Ron and many other names from the Italian music scene.<\/p>\n

\n<\/div>\n<\/section>\n
\n
\n

Biography of Alessandro Fois<\/h3>\n

Alessandro Fois is a musician, composer, arranger, and sound engineer from Cagliari.<\/p>\n

In Ivrea (Turin) he manages \u201cLycnos\u201d, an audio, video and web services studio which includes the \u201cGlamour Recording Studio\u201d (Recording and Music Production Studio)<\/p>\n

He also carries out various itinerant musical activities.<\/p>\n

Technical and musical studies:<\/strong><\/p>\n

He studied piano, music theory and experimental composition at the Cagliari Conservatory.
\nStudent in Bologna at the Sound Recording Course promoted by Fonoprint and Sony Italia.
\nStudent of Mogol (and other related teachers) at the CET \u2013 European Centre of Toscolano, for the following subjects: Composition, Musical Arrangement.
\nPhonic activities:<\/p>\n

He has been running his own audio recording studio since 1995, working daily as a sound engineer and also finding space to express his natural talent for music, arranging and artistic direction.
\nHe is also occasionally involved in the sound management of live concerts.<\/p>\n

Musical activities:<\/strong><\/p>\n

As a composer, arranger and pianist, he has to his credit an album of original instrumental music, of the genre defined as \u201cNew Generation Jazz\u201d and entitled \u201cDialogue\u201d, performed as a soloist in a Piano-Trio formation.
\nA second album of original songs is currently being composed.
\nCo-author of an original theatrical musical in the form of a \u201cmusical\u201d, written in Limba and called \u201cBoghes de Domo\u201d, for which he was also co-director, co-producer and one of the main performers during some of the subsequent productions.
\nAuthor and arranger of music for various Italian artists, Rai television soundtracks, and advertising music.
\nA professional pianist and singer in the tourism sector, he has played for many years in various European locations, with seasonal engagements in top-tier hotels.
\nProfessional pianist and singer in entertainment, performing at high-profile public, private, and corporate events.
\nHe was the director of some choral groups and a composer of music for choir.
\nHe was the producer and artistic-musical director of several music and art shows.<\/p>\n

Teaching:<\/strong><\/p>\n

He taught the subject \u201caudio and sound recording\u201d for vocational schools.
\nHe has conducted various seminars and private courses in audio recording, mixing and mastering, as well as musical arrangement and orchestration.
\nHe has taught piano and music theory for the music school run by ACLI in Cagliari and for other music schools, as well as private lessons. Bibliography:<\/p>\n

Book works created<\/strong><\/p>\n

SERIES: AUDIO ENGINEERING \u2013 AUDIO MANUALS FOR THE SOUND ENGINEER<\/p>\n

Digital Audio Recording Manual
\nDigital Audio Editing Manual
\nDigital Audio Mixing Manual
\nDigital Audio Mastering Manual
\nHome Studio for Digital Audio Recording<\/p>\n

OTHER<\/p>\n

Equalization in the audio mix
\nCompression in the audio mix
\nVoice Recording, Editing and Mixing
\nDrum recording, editing and mixing
\nPublish, Sell and Promote Your Music<\/p>\n

COMING SOON<\/p>\n

Classical, Acoustic, and Electric Guitar: Recording and Mixing
\nGrand Piano Recording and Mixing<\/p>\n

\n

Author's Notes<\/h3>\n

At the 1st Edition of September 2020<\/b><\/p>\n

With this volume I aimed to provide concrete and simple help aimed at quickly obtaining professional-level results even during amateur or semi-professional productions, as happens in home studios.\u00a0<\/span><\/p>\n

It is aimed primarily at amateur and semi-professional sound engineers, but also at all drummers.<\/p>\n

Lately, a growing number of drummers have equipped their rehearsal rooms with a multitrack recording system. Some of them offer drum-only recording services, even online. They too can benefit from the guidance in this manual.<\/p>\n

It covers all the topics related to the treatment of the drums in the phonic field, during recording, editing, and mixing.\u00a0<\/span><\/p>\n

To complete the basic culture for the sound engineer, a first part of the book has been developed with the aim of providing a quick overview of the drum kit from a historical and structural point of view.<\/p>\n

The notes on the instrument's setup and tuning procedures will be especially useful to sound engineers working in a home studio with a resident drum kit, but even for those who don't own a drum kit, it will be an interesting topic to develop, in order to better communicate with the drummer when setting up a recording session.<\/p>\n

The manual will be most useful to those who have already acquired some practice in recording and mixing, while it will be more difficult for novices.<\/p>\n

Some more experienced sound engineers may smile at some of the expository simplifications, aimed at making the material accessible, but perhaps they will still enjoy reading these pages as a mental "review" exercise.<\/p>\n

Alessandro Fois<\/b><\/p>\n<\/div>\n<\/section>\n<\/div>\n<\/section>\n<\/div>","protected":false},"excerpt":{"rendered":"

25% savings if you buy here on the author's site, instead of on Amazon<\/strong><\/h3>\n
\n

Author: Alessandro Fois
\n<\/strong>Contributions outside the text: Salvatore Corazza
\n<\/strong>Preface: Agostino Marangolo
\n<\/strong>*Format 21 x 29 cm (A4) \u2013 Page 294<\/strong><\/p>\n<\/div>","protected":false},"featured_media":5651,"comment_status":"open","ping_status":"closed","template":"","meta":[],"product_brand":[],"product_cat":[69,70],"product_tag":[],"class_list":{"0":"post-5650","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-libri","7":"product_cat-libri-e-manuali-di-audio","9":"first","10":"instock","11":"sale","12":"purchasable","13":"product-type-simple"},"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product\/5650","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=5650"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/5651"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=5650"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_brand?post=5650"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_cat?post=5650"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_tag?post=5650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}