I forgot the hats... (hihats driving me insane)

[reg3n]

Hi people, today by complete accident i observed how shitty my hats always sound, and i came to realize because i forgot to turn on that track before exporting, it's like (in a... not so pro way) the mix was mostly balanced, and i even like how smooth the hats sound, i'm using superior 2.0 for those, in real life, would you not-use a hat mic and just rely on what you get from the oh's?... if it sounds stupid just slap me but... i swear it sounds x10 times better... but if not, which frequency range would you make it shine through? (anyone with a pic with their master's frequency meter on, will be very welcomed, mine looks good but then... the devil hats come and everything looks like a damn sharp saw)

 

[BLUElightCory]

I usually don't use a hat mic unless the drummer is doing some really intricate hat work. For most purposes, there is more than enough hat going on in the overheads and room mics.

Don't underestimate the importance of a great set of hats and good technique on the part of the drummer.

 

[punkrockacademyfightsong]

I've done quite a few records without using a highhat mic in the mix.
It really depends on your room, the drummer and the cymbals themselves if you need the close mic to make it sound good.
I used to record in a quite big and live room and almost always ended up ditching the highhat mic in the mix. Now I record in a smaller and more dead room and I use a close mic all the time.
I love using an SM7 for hats, sounds a lot smoother in the upper mids (3-4 kHz) than most condensers. I usually balance my mix with just the room mics and overheads on and then I add in the close highhat mic for a little bit of extra articulation. I tend to boost a bit round 2 kHz for this on the close mic track.

Don't know if this is of any help since I only mix real drums...

 

[reg3n]

I've done quite a few records without using a highhat mic in the mix.
It really depends on your room, the drummer and the cymbals themselves if you need the close mic to make it sound good.
I used to record in a quite big and live room and almost always ended up ditching the highhat mic in the mix. Now I record in a smaller and more dead room and I use a close mic all the time.
I love using an SM7 for hats, sounds a lot smoother in the upper mids (3-4 kHz) than most condensers. I usually balance my mix with just the room mics and overheads on and then I add in the close highhat mic for a little bit of extra articulation. I tend to boost a bit round 2 kHz for this on the close mic track.

Don't know if this is of any help since I only mix real drums...

Indeed, it's of great help, 'cause soon i'm getting a real drum recorded ( mostly to fuck with, nothing too special) and i'll use the advice too, just wanted to know if not using it was like... weird... thanks both for the answers, it's really really appreciated

 

[Loren Littlejohn]

I almost never bother. I would rather run a sub kick than a hat mic.

 

[greyskull]

depends really.... its never high in the mix at all, hi pass maybe even low pass it a bit and boost it where it needs to give it a bit of chick.
i just use it hard panned to help pull the hihats to the left side of the overheads a bit. and ride it in and out when it is isn't played

 

[Trevoire520]

I usually don't use a hat mic unless the drummer is doing some really intricate hat work. For most purposes, there is more than enough hat going on in the overheads and room mics.

+1

If I have a spare input and have everything else covered I'll throw up a close hi-hat mic, but I tend to get enough from the overheads most of the time.

 

[punkrockacademyfightsong]

Yeah, volume wise it usually isn't a problem getting enough hats in the overheads but you usually miss some articulation IMO. Most of the time I end up putting a piece of foam on a stand above the highhat to prevent it from being too loud in the overheads, giving me room to actually bring up the close mic and get all the detail out of the hats that I need.
I too usually automate the hats down when they're not played.

 

[plague_rider]

If the studio using has enough inputs and decent enough mics, i'll add one... but we're talking after i've added a second kick mic, bottom mics for floor toms and maybes a second snare mic...

i like to have three overhead mics at least so you can get a better stereo field and have the mics closer to the kit...

 

[reg3n]

excellent, i always thought i sucked too much at eq'ing the hats, 'cause i've never been able to actually make them fit anywhere, but without the close mic, it's actually a lot smoother (and i'm having like.. harsh frequencies on the top) so thanks again for the replies

 

[plague_rider]

also, if you're also cutting the OHs below a certain frequency, the hats should become a pleasant hiss

 

[reg3n]

also, if you're also cutting the OHs below a certain frequency, the hats should become a pleasant hiss

Nice tip!, i tried this, and instantly got what i wanted