Overheads high pass

[Sly]

Oh and yes I love to use room mics. Let's say a pair of ribbons or condenser mics in front of the kit (triangle figure) where it sounds big but still tight.
Then I lowpass (80 Hz ? 175 hz ?) and highpass (3k ? 5k ? really depends) and compress the room bus with an agressive compressor (Distressor, SSL...). I may remove a tiny bit of 800 Hz too if needed. Then I set the room bus fader where it sounds good, automation works well there.

 

[Giacomo]

600 usually and I notch out a couple of db between 2000/5000 hz the resonances

 

[Klosure]

Oh and yes I love to use room mics. Let's say a pair of ribbons or condenser mics in front of the kit (triangle figure) where it sounds big but still tight.
Then I lowpass (80 Hz ? 175 hz ?) and highpass (3k ? 5k ? really depends) and compress the room bus with an agressive compressor (Distressor, SSL...). I may remove a tiny bit of 800 Hz too if needed. Then I set the room bus fader where it sounds good, automation works well there.

Dont you find this usually justs gives you a big boomy snare?


If you dont hi pass the overheads/room I find that some cybols can take over the mix suddenly with the depth they have. High pass too much and you just got a hissy mess

AHH its all there. Then there is the kick depth, how do you balance in your mind the kick so its deep (yes use a sub sine wave triggered by gate) without it getting lost or sticking out so much that you loose the rest of everything else in the back?

 

[Tommy Gun]

This has been my general "rule of thumb" for a couple years now. Andy is the man...

"Overheads are one of the hardest things to get right. Too much cymbals and hat and it will kill your mix, too little and you have no dynamics. I still struggle with OH's, it's down to the drummers style also. I usually go with 1 mic per 2 cymbals and try and keep the hi hat out of the oh's by obscuring the direct line of them with a cymbal. I always aim for the edge of the cymbals, about 1.5/ 2 foot above. I also get pretty heavy with the filtering and roll everything below 600 out. I dont tend to compress much as this just brings the hi hat out more, but if I'm mixing something with a lot of kit in the oh's, I'll limit them, maybe even send the snare to the limiter in the side chain. This can help the phasing of the snare also. Micing the ride from the underneath, near the bell, gives you good separation also."

 

[Klosure]

By the sounds of things more experimentation is key.

Do you put the hi hats down the middle at all with snare and kick?