Mixing spot mics for cymbals?

Harley Barley

Harley Barley

Member
Jul 18, 2010
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Toronto Ontario Canada
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How are you guys mixing/processing your spot mics on cymbals? Are you using the main overheads then blending in the spot mics when the drummer is playing them? Sending them all to a buss and EQ/compress there or EQ or each channel? Where are you guys putting your high pass filter in the chain? Reverb?

Currently im doing some surgical eq on each track then sending them all to a buss where i would do some compression and a high pass filter but its not really... sounding so good all together.

What do you do?
 
 
Skinny Viking, you're being awfully nice this week about politely suggesting the search function.



... Who are you and what have you done with the real you?
 
No offence Skinny Viking but did you read my post? I just read all threads linked and none of them answer any of the questions i was asking. I was asking how people are routing/mixing spot mics with a stereo pair of overheads (no the cluster v.s. 2 overheads didn't relate) all the threads were mostly about what frequency you put your high pass filter at. and yes i know the sneap search.. its on my bookmarks bar.

If anybody wants to read my original post and wouldn't mind sharing how they deal with 2 overheads and spot mics that'd be cool :p
 
My two bits, automation. Usually I'll spot an accent, which of course only comes in every now and again. you can leave it to your OH bus and be fine with that. It helps if you get your phase in line and take samples before hand.
 
Set the stereo overheads at the same level. Then set the spot mics about 2db higher when the actual cymbal/ride plays, just enough to hear a change in the panning but not CRAZY like you only hear the left cymbal in the left speaker. That may vary of course in what taste you have. I don't like weird unnatural separation btw :)

About highpass, it all depends on how much body you want and how much body you have captured in the beginning. I like some real meat and body to my overheads, that all highpass at 600hz seems crazy to me. I usually highpass at 120-180hz.
 
Harley Barley said:
No offence Skinny Viking but did you read my post? I just read all threads linked and none of them answer any of the questions i was asking. I was asking how people are routing/mixing spot mics with a stereo pair of overheads (no the cluster v.s. 2 overheads didn't relate) all the threads were mostly about what frequency you put your high pass filter at. and yes i know the sneap search.. its on my bookmarks bar.

If anybody wants to read my original post and wouldn't mind sharing how they deal with 2 overheads and spot mics that'd be cool :p
Click to expand...

None taken man. I was legitimately trying to be helpful. I did read your OP and in finding the threads I posted in my response I did find some info that pertained to your question. It may not have all been condensed to only specific answers but there was some relevant and possibly useful tips scattered throughout. My bad about the custom Sneap search, error on the side of caution yes?
 
And I guess just to throw in whatever extra help it may be ....

My overheads are run through a bus with an eq and some comp on it. That's always the same setup but there are times that extra cymbals or spot mics are needed in which case I'll give those the same eq as the individual OH tracks (not the OH bus) and pan them to where they match up in the OH stereo field. Volume depends on the song to get a realistic and convincing blend so just loop a small section that might have a couple hits and play back the full mix, adjusting your spot mic volume until you believe it's part of the overheads but gives the extra whatever needed

By the way I don't send them to another bus, seems like overkill
 
I compress them pretty drastically, and then automate the volume of the track to control the bleed that is now a bit louder than I'd like. I also add some verb to help them blend with the kit and room, not too much mind otherwise it'll wash out.
 
Skinny Viking said:
None taken man. I was legitimately trying to be helpful. I did read your OP and in finding the threads I posted in my response I did find some info that pertained to your question. It may not have all been condensed to only specific answers but there was some relevant and possibly useful tips scattered throughout. My bad about the custom Sneap search, error on the side of caution yes?
Click to expand...

Thanks for trying to help the threads answers a few little questions so it was worth it :)

Still not sure if i should put the high pass filter on before i compress/add top eq or right at the end of the chain. But so far i've found that puting the high pass at the end works the best, it seems the compressor likes having the fuller drum sound to compress then cutting after words :p
 
Harley Barley said:
Thanks for trying to help the threads answers a few little questions so it was worth it :)

Still not sure if i should put the high pass filter on before i compress/add top eq or right at the end of the chain. But so far i've found that puting the high pass at the end works the best, it seems the compressor likes having the fuller drum sound to compress then cutting after words :p
Click to expand...
Depends if you like your shells to affect the cymbal compressing, if yes i guess the sound will come out more like the human ear is hearing (loud explosive noises - drums - duck the sound of static ones - cymbal wash), this is maybe why you like it better, if you just want a constant "wash" of cymbals in the background then highpass first, i think this depends on the song.
 
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