- Oct 8, 2009
- 313
- 0
- 16
How are you guys processing your OH to get the cymbal with a good amount of sustain? All mine come out way to straight forward and attacky losing sustain almost instantly in the mix.
And pointers?
And pointers?
Cymbal Sustian?
- Thread starter JamesNorman
- Start date
Jarkko Mattheiszen
The FU guy.
Try a parallel bus. Route all the cymbal and OH tracks there, and compress them with a FET type compressor (1176 and so on). Any compressor should do, but that's what I prefer. Medium-ish attack, fast release, probably 4:1. Smash 'em good. Mix with the original tracks so that it won't sound strange but brings up the cymbal sustain just enough. You might want to cut the lows and low mids on the parallel bus quite a bit.
MarcusGHedwig
Member
Russtopher
Member
Def good advice, you want the natural cymbal sound to carry the tone and the parallel comp to just hold things out a bit longer. Squashing OH mics too much makes cymbals sound brittle and harsh very quickly. Blending that in should help.
tempe
Captain Midnight
I just usually compress the overhead bus quite lightly, say 1.5 ratio fast attack medium to long release. Usually between 2 and 4 dB of gain reduction is enough.
tempe
Captain Midnight
Sacha
Throbbing Member
JeffTD
Senhor Testiculo
This. Proper compression on the OH's is key to getting cymbals to sit right. Automation, room mics, and parallel comping also help a shit ton!
THIS THIS THIS.
=D
IF any compression is on the OH buss in my stuff, it's going to be just kissing the g.r. meter
JeffTD
Senhor Testiculo
Automate crashes to be of equal or desired relative levels to one another, drop when it's just hats/ride being played. Really just enhancing and evening what you want to hear and getting rid of what you don't.
This has been a big one for me getting my cymbals to sit well. Now I spot mic all the cymbals and do alot of automation so things pop where they're needed and aren't causing bleed when they're not needed.
