Unlike a guitar or other "standard" instrument, there really isn't an official standard for drums - this is also true when it comes to drum notation when writing music. However, there are some common things that are agreed upon by most players. For example, the basic drum layout (or where a certain drum component will go). Once we deviate from a "normal" or common setup, that's when we run into challenges that need problem solving. Even if you're not a drummer, these are good things to keep in mind. And even if you don't plan on recording or playing physical, acoustic drums, your music can still benefit from understanding some general setups and mechanics.

The 5-piece set is most common above is called a 5-piece because it has 5 drums (kick, snare, and 3 toms). While it does have cymbals, they are not counted when using that numbering system. Basic drum kits usually range between 4 and 5 pieces with the number of toms being the variation (there's always a kick and snare).

As for mechanics, what you need to know is that drummers use all 4 limbs - 2 arms and 2 legs (this is not a requirement, and there are drummers with fewer than this average). The point is that playing the drums is incredibly physical to make sound. If you're thinking about this from a writing/composing standpoint, keep in mind that with this physical limitation you can't expect a drummer to be able to perform more than 4 hits at any one time (that would imply all limbs are hitting something) (this is a dead giveaway when you hear a drum part that has too many hits that would be physically impossible to play). 

When recording, it's important to consider the physical aspect of playing because the performer could potentially hit microphones that are placed too close. This is easy to forget when you setup when the drummer is away from the set -  the moment they start playing, be sure to observe and adjust as needed. It can be helpful to have the drummer play a little first so you can get a feel for the amount of space they will need to play naturally.

a really good video on recording drums:

https://www.youtube.com/watch?v=GPPhmyBIi6k&embeds_referring_euri=https%3A%2F%2Fdvc.instructure.com%2Fcourses%2F89619%2Fpages%2Frecording-drums-pt-1%3Fmodule_item_id%3D5966574&source_ve_path=MjM4NTE&feature=emb_title

When recording more than one musical part at a time, there are a few options available: recording everything at once (live), recording each part individually, or a combination of simultaneously recorded parts and individual parts. Each approach has pros and cons. The following articles linked in this module will go into some of the se elements.

Keep in mind that these techniques will work for both ensembles/bands as well as individuals playing multiple parts.

From https://producerhive.com/music-production-recording-tips/live-recording-vs-overdubbing/ :

Overdubbing is the practice of recording over existing instruments when making a song. For example, you might be recording a bass part over a drum track, then the guitars will be overdubbed once the rhythm section is complete. In both cases, overdubbing is used to build a song “piece by piece”.

LIVE RECORDING

• An approach where the recorded audio is a result of capturing a single performance.

With live recording, you will typically have all performers in the same room, stage, or studio space playing together in time with each take. Ideally, each instrument or instrument group will be separately mic’d up and recorded on a different track in the project (this is multitrack recording, which we’ll look at later).

Multitrack recording simply means that the recording contains more than just a single track. This can apply to live recordings and overdubbed recordings. It goes without saying that overdubbing would be much harder without multitrack recording, and live recordings would lose the ability to be mixed afterward.

The current popular music industry is after a refined sound with flawless tempo and pitch. Because many new and professional musicians try to emulate contemporary recordings, many of them use overdubbing in their music production process, but may not even think about it.

There are many song/album examples to compare the difference between recording an ensemble live vs overdubbed, but The Beatles are a great place to start. Part of this reason is because they were recording albums as overdub technology was developing. The Beatles, along with producer George Martin, became some of the earliest pioneers of the advanced studio techniques used today.

Ways to overdub https://blog.landr.com/overdubbing/:

1) record on a new track

2) Record over an existing track

3) Punch in and out

4) Loop record

From Canvas material:

A came across an older article that shared some tips and hints going into the overdubbing process for better results:

1. Know exactly what you are working on that day

2. Have all the resources you need available.

3. Make sure all parts have been rehearsed and that all performance issues have been sorted out.

4. The overdubbing musician should play their part at the tempo of the song when getting sounds.

5. Set up a comfortable space for the musician to work in.

6. Always have a plan B, incase everything you planned goes wrong.

7. Never rush through performances in an attempt to complete your goal for the day.

8. Never settle for average performances that will need to be fixed with editing.

9. When you capture the essence of a part, record it everywhere it needs to be without delay.

10. Take regular breaks, especially if there is frustration and confusion in the studio.

11. Always communicate with the musician immediately after a take, even if it's to tell them you are not sure or need to listen to it again.

These aren't the only things to consider, but I agree that these are a great starting point.

You can read the full article here: https://www.music-production-guide.com/overdubbing.htmlLinks to an external site. 

Once you have audio recorded in your DAW, it's time to edit. Depending on the project and performance, you may need to edit a lot of things or just a few. At minimum, you'll likely want to apply fades to the start and end points to eliminate the unnatural click or chop effect (this is what you hear when you go immediately from not sound to recorded sound and visa versa). The list below describes some common editing tools and features you'll want to be familiar with.

1) Trim

2) Cut/Splice

3) Copy/Paste

4) Move

5) Fade

Signal Processing:

When it comes to signal process in audio production, we can divide it into two categories: Gain-based processing and Time-based processing. Gain-based has to do with levels, or "gain," while time-based refers to effects like reverb and delay. During the mixing process, you usually utilize gain-based signal processing to help balance levels better. Time-based effects are used to provide more depth to a mix, but they tend to be applied after. This video by Waves is a brief introduction to audio effect signal process.

Signal processing can be done with physical equipment or with virtual plug-ins. Each option has pros and cons. Physical gear often sounds warmer due to the electronic components (although not always true), but they are more expensive, take up space, and have input/output limitations. Virtual plug-ins are limited only by your computer's processing power. With a modern computer, it's easy to have plenty of available power. Plug-ins have many price-points, but many are free or affordable. Many even come pre-installed with a DAW. You can easily copy/paste settings and configurations making these a great option. Downsides are that they may sound more "stale" or have lesser quality compared to physical gear. 

EQ:

EQ or equalization allows you to adjust levels of specific frequencies rather than the entire volume level. This is great for reducing unwanted frequencies or boosting weak frequencies that you want to hear better. You can also use EQ for editing for"surgical EQ" needs where you focus on a very small range of frequencies for precise editing. This video by Waves looks at the use of EQ.

Compression

Limiter - cuts sound above a certain frequency

Gate - automatic switches mics on/off. only allows sound above a threshold. Opposite of a limiter.

Expander - Opposite of a compressor. compresses signal below a threshold. Reduces signal below threshold (such as 2:1)

DeEsser - compresses a small area of frequencies where sibiliance exists (loud Ss, Ps. Set DeEsser after compression and EQ has been set.

Time-based Effects

Can be done realistically - but most commonly through post-production after recording

Reverb - the effect of a sound reflecting over multiple surface at different distances and angles. When these sounds bounce back to the listener, they hear the sound and atmosphere of the room. The listener will hear the original (direct) sound blended with the sound of the room they are in. (source Canvas materials)

Delay - delay is more of a special effect compared to something like reverb. Another way to put it is reverb is used on almost every production while delay is more optional. When it is used, delay can enhance a production by adding interest to parts. 

A few common uses:

• On vocals

  • short delays can make a vocal sound thicker or provide an interesting stereo effect when panned.

  • long delays can add depth and atmosphere.

• On guitar

  • short delays can create a vintage slap-back effect.

  • longer delays can sound dreamy.

  • delays synchronized with the tempo of the music can create rhythmic patterns and harmony that make the instrument sound bigger.

Modulation

Essentially, modulation effects rely on a modulator, like an LFO (aka: low frequency oscillator), to change a parameter at a specified rate of time. One way to imagine this is to think of someone rotating a parameter knob up and down while sound plays through. Having someone actually do this manually would be impractical so that is why an LFO takes on that duty. Depending on how the modulation is happening, you will encounter these common effects: Chorus, Flanger, Phaser, Vibrato, and Tremolo. 

• Modulation effects—Chorus, Tremolo, Flanger and Phaser

• Time-based effects—Reverb, Delay and Echo

• Spectral effects—EQ and Panning

• Dynamic effects—Compression and Distortion

• Filters

Some of the key effects used are EQ, loudness/limiter, compression.

Reasons to use MIDI:

"Virtual instruments can supplement things you don't have - or be used entirely (like in electronic music)

• You can create mock-ups without needing to utilize recording spaces or resources

• You can swap out real takes for virtual takes to fix issues

• You can create entirely new sounds not possible with traditional acoustic instruments

• Accessibility can be inspiring and inclusive

• They can be cost-effective alternatives to real instruments"

What is a VST?

"A virtual instrument is a type of software that acts as a sound module. These instruments can be fantastically detailed emulations of vintage keyboards, recreations of analog synthesizers, sophisticated sample players, pianos, orchestral instruments, drum machines, and instruments no one’s dreamed of before. Nearly all virtual instruments act as plug-ins within a DAW host program, though some also offer a standalone mode for live performance. One thing they all have in common is that they use your computer’s CPU and other resources to create sound.

If you’re already familiar with traditional digital keyboards, then it might make sense to think of virtual instruments like this. Digital keyboards are really four pieces of technology in one: a MIDI controller, an audio interface, a computer, and a virtual instrument. The keybed and hands-on controls are the MIDI controller, the I/O is the audio interface, the circuitry of the sound module is the computer, and the program running on that computer is the virtual instrument itself. The beauty of creating a virtual instrument rig is that you get to choose all four components yourself — and you can have as many virtual instruments as you like!"

No need to take notes on music theory

• 
  Spitfire LABSLinks to an external site. (Orchestral and experimental acoustic/synthesized instruments. Excellent sample library company.)

• Orchestral Tools SINEfactoryLinks to an external site. (Orchestral instruments. Another excellent company)

• Native Instrument Komplete StartLinks to an external site. (balanced variety of instruments from famous brand)

• Ample Sound Ample Bass P Lite IILinks to an external site. and Ample Sound Ample Guitar M Lite IILinks to an external site. (Rhythm generating guitar and bass. Good quality considering it's free)

• VCV RackLinks to an external site. (Modular rack synthesis)

• List of Free Instruments on Plugin BoutiqueLinks to an external site.

Automation

As the name suggests, this allows some tasks to be handled by the computer. Anything you might consider adjusting as your project plays can be automated. This will be looked at in the next page.

Bouncing

Once you are done with your project, you'll need to get it our of the DAW and into a format that can be released/submitted. This is referred to as "bouncing." We'll look at this in another page.

Release and Distribution

For some of you, submitting the bounced audio file of your project will be the final step. For others, you may be interested in releasing or publishing your music to the public.

Tips for releasing music:

Proof read, listen on multiple devices, label your file, play it for someone, rest your ears.

Automation allows you to have parameters and settings change over time without needing to manually adjust them. It's like having an unlimited amount of hands able to turn dials while a project plays back. Physically, this is obviously not possible. However, with automation, you're able to bring a track to life in new ways.

Automation can be used on anything that has a knob, slider, fader, or other adjustable parameters. You can manually draw in automation data (known as offline automation) or you can perform it into a project by recording the adjustments you make in real-time (known as real-time automation).

https://www.waves.com/mix-automation-tips-to-bring-your-mix-to-life

https://www.izotope.com/en/learn/7-creative-automation-tips-for-music-producers.html

Bouncing

From Canvas:

The last step for your project is to bounce it. This takes your project, which is full of tracks, and "bounces" it down to just two tracks - a Left channel and a Right channel. This is what makes up a stereo audio file. This is the standard type of file that most people listen to on the media players. Common bounce formats are:

• WAV

• AIFF

Both WAV and AIFF formats are full quality, uncompressed audio. That is the best option when releasing professionally. Digital audio quality is another detail to configure. There are two aspects to this: Sample Rate and Bit Depth. Common settings are:

• 16-bit/44.1kHz (CD standard)

• 24-bit/48kHz (DVD standard)

Real time bouncing is bouncing while playing back the project. Offline bouncing does it very quickly without playing it back.

Normalizing - essentially automatically sets the audio volume level to its max level without clipping. you can bounce to ensure theres no clipping, but you have no control over volume levels and you may want to set dB levels lower than just 0.

Loudness penalty - allows you to view loudness measures by streaming services and lets you see if your track will be adjusted by each streaming service

https://www.loudnesspenalty.com/

Release and Distribution

Once you have a finished project in the form of a standard quality audio file, you may want to release it to the public. In the past, this would have been through some form of manufactured media like vinyl, cassette tape, or CD. Today, there are a number of ways to do this online, including low cost and free options. Some online services offer digital distribution only and others have a manufacturing service in addition to digital distribution. If you want to have your music on places like Spotify, Apple Music, Amazon Music, and more, you need to pay for a distribution service that will put your music on those platforms (you can't go directly to these streaming services and release directly yet). You also will need to be registered on a performance right organization (PRO) like ASCAP or BMI in order to collect royalties from streaming.. Here are a few websites to explore:

• 
  

  • Free and subscription options, and limited to their website. Souncloud is unique in that it's a social platform where users can comment on music at specific points of the music as well as share/post.

• 
  

  • Free to post; share/cut of sales split between artists and Bandcamp. Upload music for sale or for free streaming. Clean and convenient site for personal distribution. Lately, they've been offering 100% sales to artists on select days through the pandemic. This may continue afterwards. If you coordinate a promotional effort to drive sales on those days, you'll end up benefiting the most.

• 
  

  • This site has been around for a while. Free for streaming on their site. Fee for distribution. You can also manufacture CDs in bulk. Share/cut of sales split between artists and CDBaby. 1-time Pay per release.

• 
  

  • Distribution service online. Monthly/yearly fee to maintaining distribution, but releases are unlimited. This one is gaining in popularity in recent years.

• 
  

  • Distribution and Mastering service. Monthly/yearly fee to maintaining distribution, different price/release tiers. 

  • 
    

  • Audius is like Spotify or SoundCloud, but utilizes blockchain technology. Audius is a crypto-powered music streaming app that empowers artists. It's also has an engaging interface for remixing/reposting. Some notable artists in the space are: Skrillex, Weezer, deadmau5, Russ, Mike Shinoda, Diplo, Madeintyo, Odesza, Disclosure, Alina Baraz, and Wuki.

Next topic is emerging technologies. Links below

Mixing in 3D

https://www.dear-reality.com/blogs/overview/object-based-3d-audio-mix-from-the-daw-to-the-interactive-world

Virtual Reality and Augmented Reality

https://vrscout.com/?s=music

360 video

A 360 music video. lets you move around with your mouse to view the enviornment in 360 (while music is playing)

Would be cool to have the audio adjust while you move as if you are there in person

https://www.epikmusicvideos.com/blog/86-360-degree-music-videos-what-and-why.html

Blockchain Technology and NFTs

Audius is a new emerging digital streaming service. Allows fans to connect with artists and exclusive new music.

Portals is a browser based metaverse. Social space to explore, make your own, and gather. Similar to Decentraland (a virtual LAND with avatars - hosts music festivals)

SnoopDogg in the Sandbox. Similar to music artists partnering with Twitch and video games by creating a virtual landsacape created by the artist. NFTs provided with Sandbox.