overheads? what do you do with them to get that sound
- Thread starter ZPDRUMMER
- Start date
Russtopher
Member
Hmmmmm... I have a Presonus Firebox so I only have the 4 inputs, I usually submix the close mics along with the OH mics to fit it into 2 tracks, then kick and snare into the other 2 tracks. If I copied the OH/tom tracks, then cleaned them up so 2 tracks were just toms, and then 2 tracks OH with the toms rolled off a bit, I suppose it might work, and give a wider cymbal spread.
I'll give that a try and see how it works out....
I would think so, and yeah, if you're intending the OH's to be a stereo pair (which all AB setups are), then 100% L/R would be the only choice I'd make 
EDIT: Nevermind, saw that you're submixing - I've never tried that before, so I don't know poop about working with it; sorry!
EDIT: Nevermind, saw that you're submixing - I've never tried that before, so I don't know poop about working with it; sorry!
LSD-Studio
HCAF crusher
I'm usually using a pair of km184 into API preamp to closemic cymbals in 40-50cm distance.
I try devide the cymbals in two groups (left and right) and closemic the groups (usually consisting of 2-3 cymbals each), that way you don't have to worry too much about phase cause the distance between the mics is way bigger than the one between the mic and the source (3:1 rule).
I'll put an additional sm7 on the hihat and a 414XLII under the ride.....sometimes I'll add another m160 (for an additional right-side hihat or a china or some other cymbal that's not covered by the main 2 cymbalmics.
I'll not shift the tracks in time to match phase! I will switch the phase-button on all of the drumtracks to see what gives the best sound (overheads and snare on solo-->try phase on snare....hats-->try inverting the phase on that....add ride.....etc)
I'll HP the overheads between 550 and 600 and sometimes even add a slight wide boost at around 8k..perhaps like 1-2dB (careful, to much high-boosting can make the cymbals sound cheap).
usually I'll only compress the cymbals when I want to get some snare out....using the fastest attack and like 150ms release, but as I said, usually I like my cymbals w/o compression.
I try devide the cymbals in two groups (left and right) and closemic the groups (usually consisting of 2-3 cymbals each), that way you don't have to worry too much about phase cause the distance between the mics is way bigger than the one between the mic and the source (3:1 rule).
I'll put an additional sm7 on the hihat and a 414XLII under the ride.....sometimes I'll add another m160 (for an additional right-side hihat or a china or some other cymbal that's not covered by the main 2 cymbalmics.
I'll not shift the tracks in time to match phase! I will switch the phase-button on all of the drumtracks to see what gives the best sound (overheads and snare on solo-->try phase on snare....hats-->try inverting the phase on that....add ride.....etc)
I'll HP the overheads between 550 and 600 and sometimes even add a slight wide boost at around 8k..perhaps like 1-2dB (careful, to much high-boosting can make the cymbals sound cheap).
usually I'll only compress the cymbals when I want to get some snare out....using the fastest attack and like 150ms release, but as I said, usually I like my cymbals w/o compression.
Jaymz
Stymphalian Productions
Do you guys think that close-micing cymbols allows you to get away with a lower ceiling in the tracking room?
I usually use sanctuaries, but the drummer I'm recording next has a small kit. I was thinking of just close-micing in a small room. SM7B on hats, ATM450 on one crash, second ATM450 on the other crash and the ride.
I usually use sanctuaries, but the drummer I'm recording next has a small kit. I was thinking of just close-micing in a small room. SM7B on hats, ATM450 on one crash, second ATM450 on the other crash and the ride.
In looking at the pics here, my OH's are a LOT closer to the cymbal groups, on just a stereo pair. I've found that for me I get too much kit in the OH's, of which I'm not a fan. It tends to make the mixes I do a little too muddy with the drums if I have too much room or kit sound in the OH's, so moving them closer to the cymbals seems to get rid of the problem. I HPF between 400-800Hz as well, depending on how much replacement I've had to do...haha.
KeithTidd
Robot Penis.
there's a cool technique my advanced recording teacher taught my class: Point your close mic like you're micing the actual drummer, so they're all kinda aiming towards the same place. Then place your left overhead exactly 4 feet above the snare mic, make sure it lines up with the snare mic. Then make your right overhead exactly 4 feet above the floor tom mic, just like you did with the snare. Then flip the polarity on the overhead mics. I'm a fan of this technique, it sounds like the image widens, and it reinforces the kick's fundamental freq, the snares and so on.
here's a song that i used the technique in.
http://www.ultimatemetal.com/forum/rate-my-mix-tone-threads/393642-tr00-black-metal-digi-eleven.html
here's a song that i used the technique in.
http://www.ultimatemetal.com/forum/rate-my-mix-tone-threads/393642-tr00-black-metal-digi-eleven.html
Nice sounding cymbals and mics surely help overheads. As does a drummer who knows how to properly hit cymbals. For mixing, I'll knock out the boxy low mids and sweep down most of the lows... for metal stuff it can't hurt to knock up a bit of 4k but this depends on the mics... sometimes there is so much ear piercing 4k you need to attenuate. Sometimes for metal I'll want a really tight snare sound so I'll compress the overheads with a fastish attack to knock the snare down in them so that your close mic'd snare and any samples you may be using are the most present source of snare.
