1. Non-Linear Summing: The API, NEVE, and SSL Sound
Before the era of digital summing, engineers mixed on consoles that imparted their own sonic character to recordings. Some of the most iconic consoles, like those from API, NEVE, and SSL, added subtle non-linearities that gave recordings a unique tone, warmth, and depth. When mixing drums, these non-linearities can add harmonics and energy that are impossible to achieve with digital plugins alone.

API consoles are known for their punchy, aggressive mid-range. When summing drums through an API-style bus, you'll often notice more presence in the snare and kick, making them stand out without being harsh.

NEVE consoles are revered for their smooth low-end and warm character. Non-linear summing on a NEVE console can give the kick drum and toms a more rounded, full-bodied sound, often described as “fat” or “vintage.” If you're after a slightly softer, yet powerful drum sound, Neve summing can help.

SSL consoles, on the other hand, are famous for their clarity and punch, especially on modern pop, rock, and dance tracks. Their non-linear summing adds a distinct bite to the high-end, making hi-hats, snares, and cymbals pop in the mix without being overbearing.

When mixing drums, utilizing the emulation of these analog consoles can make a massive difference. You can find non-linear summing options in many modern DAWs through plugin emulations, or through dedicated hardware summing mixers. By feeding your drum bus through these, you'll impart a subtle harmonic distortion and saturation that glues the elements together in a way that purely digital processing often can't.

2. Parallel Compression: Creating Power and Punch
Parallel compression, also known as New York compression, is an invaluable technique for drum mixing. It allows you to blend an aggressively compressed version of your drums with the unprocessed signal, which helps to retain the transients and natural dynamics while adding weight and sustain.

How to Set Up Parallel Compression for Drums:
Step 1: Start by sending your drum bus or individual elements (kick, snare, toms) to an auxiliary channel.

Step 2: On the aux channel, insert a compressor. Dial in a heavy compression setting with a high ratio (8:1 or more), low threshold, and fast attack. You want to squash the signal to the point where it sounds over-compressed.

Step 3: Blend the compressed aux signal back in with your original drum bus. Start at a low level and increase the volume until the drums sound bigger and more powerful without losing their original punch.

When to Use Parallel Compression:
To add weight to a weak or thin kick drum.
To give more body and sustain to snare hits without losing snap.
To glue all the drum elements together, making the kit sound cohesive and full.
One great aspect of parallel compression is that it allows you to add intensity without squashing the life out of your drums. You can maintain the natural dynamics while enhancing the overall energy.

3. Phase Alignment: Tightening the Drum Sound
Phase alignment is essential when working with multi-microphone drum setups. Since the kick, snare, and overhead mics are all capturing the drum kit from different distances, the sound waves can arrive slightly out of sync with each other, leading to phase cancellation and a hollow, weak drum sound.

Steps for Correcting Phase:
Visual Check: Start by visually inspecting the waveforms of each drum track in your DAW. Look for places where waveforms are inverted or misaligned. For instance, if the snare drum waveform peaks downwards in one mic and upwards in another, they are likely out of phase.

Phase Flip: Most DAWs or mixing consoles have a phase inversion switch (often labeled Ø). Toggle this switch on channels that seem to be causing phase issues and listen to whether it tightens or weakens the sound.

Manual Nudging: Another technique is to manually nudge the waveforms in your DAW. Move the overheads or room mics slightly to align with the transients of the close mics. Listen critically as you adjust, focusing on the punch of the kick and snare.

Results of Good Phase Alignment:
The low-end becomes tighter and more powerful, especially on the kick drum.
The snare will sound fuller, without the hollow effect caused by phase cancellation.
The entire drum kit will sound more cohesive, as the phase alignment allows all elements to work together harmonically.
4. Using Room Mics and Trash Mics for a Bigger Sound
Room mics are a fantastic tool for adding depth and space to your drum mix. By capturing the natural ambience of the room, they provide a sense of dimension that makes the kit sound larger and more immersive. However, many mixers overlook how creative you can get with room mics.

Positioning the Room Mic:
Distance: Place the room mic several feet away from the drum kit. The further away, the more diffuse and natural the reverb will sound.
Height: Experiment with the height of the mic for different results. A mic placed high can capture more cymbals and reflections from the walls and ceiling, while a lower mic can pick up a darker, more body-heavy sound.
Trash Mics for Character:
A trash mic, often an old or lo-fi microphone, is placed in unusual positions, like in front of the kick drum, or even in a hallway or adjacent room. These mics aren't meant to sound pristine—they're meant to add character and grit. You can crush this mic with distortion, heavy compression, or saturation, and then blend it in subtly with the rest of the kit for texture.

Blending Room and Trash Mics:
Start by adding the room mic in at a low level until you feel the kit open up and start to breathe.
Apply EQ to cut any unnecessary low-end (below 100 Hz) to keep the room mic from muddying up the mix.
For trash mics, apply extreme processing, such as distortion, bit-crushing, or parallel compression. Then blend this channel back into your drum mix to add excitement and energy.
Stereo Widening with Room Mics:
To make your drum mix even wider, consider duplicating your room mic and panning the duplicates hard left and right. Apply subtle pitch or delay variations to each side for a stereo spread. This trick creates a wide, enveloping drum sound that fills the mix without overpowering the core drum elements.

Conclusion: Building the Perfect Drum Mix
By utilizing non-linear summing to impart classic console characteristics, parallel compression to add punch, phase correction to tighten the low end, and room or trash mics to enhance width and character, you can craft a drum sound that feels polished, powerful, and organic. Each of these techniques adds layers of complexity and nuance to the mix, creating a final product that stands out and drives the track forward.

With these advanced techniques in your arsenal, your drum mixes will sound fuller, tighter, and more professional—ready to anchor any great track. Happy mixing!