Do you have any tricks to reduce hihat bleed on already recorded OH track? I mean this thing is louder than the cymbals. They must of place the overheads wrong and keep the fucking hihat higher than the players head. Shit.
HH bleed in Overheads how do kick ass.
- Thread starter ApeScaleConflict
- Start date
guitarguru777
Member
Skinny Viking
¯\(°_o)/¯ How do Lydian?
I would 1st try finding where the main attack of the hi-hats lives in the OH with EQ and make a deep cut, or a couple, with medium Q and see how it effects the overall sound of your OHs in the mix. If it doesn't take too much away from the cymbal, kit sound, you can round it all out with volume automation afterward. Reason to try EQing 1st is if it works you may not need to automate as much, saving you a fair bit of time and hassle in the long run
chrisrivalry
Member
- May 19, 2010
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usually knocking 4k out of the overheads should mellow it out. that's unfortunate that they tracked improperly, because I just did some tracking sans high hat mic and I'm absolutely loving the sound I'm getting from just the overheads and room mics, it's really natural sounding, but it seems like yours is more of an issue than a technique ha.
My hihat is mostly sitting pretty high at about 10-12k in the OHs. I don't want to kill these frequencies... So today I find myself don't even setting up a HH mic, cause in every last project I ended up muting it in the mix.
C_F_H_13
Protools Guru
Got a high hat mic track as well?
If you do, use a transient designer type plug in to really make those hi hat hits stick out then use that track to side chain a comp on the OH track....
Even a little bit would help. Maybe even sidechain a multiband comp and just do that 10-12k range.
If you do, use a transient designer type plug in to really make those hi hat hits stick out then use that track to side chain a comp on the OH track....
Even a little bit would help. Maybe even sidechain a multiband comp and just do that 10-12k range.
Ermz
¯\(°_o)/¯
^ Yep, I did the above on a record I'm currently mixing and it worked miracles. It was one of the most abrasive and annoying hi hat sounds ever, totally ate all the vocals up until that sorted it right out.
Trevoire520
Member
That sidechain trick is fucking ninja shit!! The HH sound on the overheads is fucked up. It's too grasp, i think the hihat is just poor shit. I have a HH track also, i really gotta try that trick C_F_H_13 and Ermz suggested!
This whole project is turning out a nightmare. But we'll see. Tom tracks are the worst. I don't know what the FUCK happened there. I think they mic'd 'em inside from a snare and had another mic behind the kit.
This whole project is turning out a nightmare. But we'll see. Tom tracks are the worst. I don't know what the FUCK happened there. I think they mic'd 'em inside from a snare and had another mic behind the kit.
raisedfist
Member
I had this recently with a band that did the drums at a mates studio, and it was so bad I had to re-record the drums which was a total pain. When I was tracking I did that thing that Kurt Ballou does with some foam to block a bit of hats outta the Ohs. It seem to keep the hats under control in the OHs.
Loren Littlejohn
Lover of all boobage.
Nothing worse than getting tom tracks were the snare somehow is louder than the toms themselves.
gyr_saturated
New Metal Member
well, the drummer and the cymbal combination matter much more than the positioning of the overheads, unfortunately anyway, the thing that worked the most for me usually was de-essing them, somewhere around 12k, it doesn't wreck the other cymbals that much, though the hihat does get mushy. multiband compression doesn't work that well for me, since i get stuck with a dark but still too loud hihat. i'd say the sidechaining should work pretty good as well, but i have the hihat miced really rarely, so i've never tried that
anyway, the thing that worked the most for me usually was de-essing them, somewhere around 12k, it doesn't wreck the other cymbals that much, though the hihat does get mushy. multiband compression doesn't work that well for me, since i get stuck with a dark but still too loud hihat. i'd say the sidechaining should work pretty good as well, but i have the hihat miced really rarely, so i've never tried that
Nothing worse than getting tom tracks were the snare somehow is louder than the toms themselves.
Yes, i have to listen from OH's and decide whether it's a tom hit or a kick/snare. The guy who recorded this, obviously didn't give a fuck if the signal was shit. Just record and get it out with. :/ THAT'S the reason why every hombre that records your album says you are a complete shit that don't know how to hit and then tells you to HIT THE FUCKIN DRUM
mburton21
Member
- Oct 7, 2009
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Ugh, I had to do mixing for a band recently where the tom tracks picked up everything louder than the toms. What makes it worse is that this is supposed to be one of the more professional studios in my area; i'm hoping that they just didn't give a shit because the band was terrible because the pure lack of passion in the project was disheartening.
I couldn't make it work in the end since they didn't want any sample replacement
I'm glad that me and my business partner just started up our own studio to show these guys how to do it
I couldn't make it work in the end since they didn't want any sample replacement
I'm glad that me and my business partner just started up our own studio to show these guys how to do it
