Overheads / Phase / HUGE Weakness... Advice needed

every technic sounds great when doing it right.
I would try them all and choose which one works the best for you.
Stereo-A/B , XY, ORTF, read into it and do it.
Stereo-A/B is the easiest to do right. XY is easy to fuck up :)
But go buy some solid OH mics.
 
I tried just a highpass at 300-500 on the raw OH tracks provided and the cymbals are just super bright. At this point I want to blame the mics.

500hz is quite extreme if you want great sounding drums that aren't heavily sample replaced. 120hz is enough - especially if you're not triggering a whole lot. I usually boost quite a lottle of lows and make a cut around 800. Dullness or brightness can be fixed with a shelf boost/cut. Overheads and room mics are the main part of my drum sound - close mics simply add a little weight.
 
I been high passing at like 1k on OH's forever and filling in the drums with the room mic. Maybe I should reverse this process ...lol

Yeh that's crazy high man! Even 500 as mentioned above is insanely high. I don't know how that magic figure got so popular on this forum - it just doesn't really sound that good...
 
500hz lets you clear the space for more kick drum direct and bass guitar. It also allows you to let it up on the OH compression a bit - leaving the drums more natural sounding.
 
I processed the OH tracks like I would when starting to work with them and they just sound bad to me. Very harsh. I think the source is the problem, be it the cymbals, placement, or microphone.
 
500hz lets you clear the space for more kick drum direct and bass guitar. It also allows you to let it up on the OH compression a bit - leaving the drums more natural sounding.

Well how natural sounding is the OH if there is no body left in the cymbals. Im having it hard to belive even Andy does it even if he has said that in the past which made it the truth around here. Just listen to the Chimaira album no way those cymbals are LP at 500-600hz, they got great amount of body fullness to them.

I belive you should highpass the OH just before the cymbals are starting to thin out. I like body in my OH :)
 
Get the mics at the same height (don't worry about distance from snare). Then have the drummer hit the snare and adjust input gain until snare is peaking at the same volume for each channel..
 
Get the mics at the same height (don't worry about distance from snare). Then have the drummer hit the snare and adjust input gain until snare is peaking at the same volume for each channel..

But you'd have to pay attention to the cymbal placement vs mic distances as well, otherwise you could get imbalanced crashes, for instance. Somewhat depending on the type of OH technique used, of course.
 
Well how natural sounding is the OH if there is no body left in the cymbals. Im having it hard to belive even Andy does it even if he has said that in the past which made it the truth around here. Just listen to the Chimaira album no way those cymbals are LP at 500-600hz, they got great amount of body fullness to them.

I belive you should highpass the OH just before the cymbals are starting to thin out. I like body in my OH :)

Plenty of body in cymbals at 500hz. Lower than that, I tend to feel it's mostly junk that gets in the way of the direct microphones cutting through in the mix.

On topic: Jase, if you're finding your OH's too swooshy, they're probably too far away from your cymbals. If their purpose is to capture mainly cymbals and not the kit as a whole, try treating them more like spot mics. The old 'hat mic' and 'ride mic' approach.
 
Less space between OH and cymbal, perhaps. That extra wash on cymbal tail could come from the room track if you like that aesthetic. Or do just the opposite and pull back on the OHs until the washiness goes away.... but then you have a room mic..... fuck.

Off topic, that is a sexy ass room. Simply stunning.