Let's talk about overheads.

[Matt Smith]

Lately I’ve been kinda struggling with overheads in the mix. I mean I get pretty good results, but I want to take it to the next level. How the heck do guys like Bob Rock, Colin, Andy, etc. get their cymbals so bright and shimmery and smooth without being harsh? I mean, when you listen to the cymbals on the black album, there’s such a long, smooth sustain…probably compression and probably partially all those room mics. I don’t know, whenever I’ve tried to compress overheads, it just brings the hats out even more, which is not what I’m going for, so I usually take it off. And EQ-wise, do you guys have any general starting points you usually gravitate toward (besides filtering)? Sometimes if there’s an annoying, harsh overtone in a cymbal, I’ll notch it out, but then things feel too dull. I don’t know, I just wanted to strike up a conversation about this and see if anyone has any general suggestions or tips that you’ve found work for you on a fairly regular basis.

[OzNimbus]

My first question would be:

What's your room like?


Other factors: How hard is the drummer hitting the hats? How "open" are they? How's the drummer's cymbal technique? (this is a huge factor, as cymbal sounds can vary greatly from drummer to drummer)

Generally though, I'll rolloff at 600hz, and that's it for EQ. Then again, I have a very bright drum room. A little bit of compression afterwords, usually an opto, and that's about it.

-0z-

[Matt Crooks]

I've had good results with slight compression (1:2 - 1:4) taking a 3-4db off. I filter out the low stuff and then add in some shelf (1-2 db) somewhere between 10-15k.

The big thing, I think, is that the room has to have that sound.

[Brett - K A L I S I A]

Try to keep the hats hidden from the oh microphones when you track the drums, I think that's a good starting point (when possible). Also try to get the drummer not to hit the hats to hard (send it back loud in the drummers headphones so he calms down on it maybe).

[chadsxe]

I would say just about every thing Oz had to say. Nine out 10 times the drummer is hitting the cymbals to damn hard.

[everybody's x]

I am FAR from an expert on the subject, but I am a cymbal nazi. When guys bring in their ZCustom/Paiste/super heavy super loud super heavy METAL cymbals I make them leave them in the bag.
I have a nice QUIET set of 1960's Zildjian A's that balance themselves nicely in the room. I tell the drummer to "hit every drum as hard as you can all the time and hit the cymbals like you're petting a kittie" This takes some adjustment but almost always pays off with a better balanced drummer making a better recording. I have a dish towel with a hole in the middle that goes right over the hats and have them play right through them (Try It! it works). Open hats are as close together as they can possibly be to avoid that horrible open hat wash over everything. Whenever possible I discourage playing open hat parts AT ALL. It's amazing how well that can fuck up a mix. (everything in moderation makes heavy thing heavier when they HAVE to be)

If you are dealing with low ceilings try a different approach altogether. 2 sdc's 8 feet apart 4 feet in front of the kit at crotch level. PZM's on the floor in front and behind the kit, etc. Hell try it in a big room (I do)

I dont like compressing the OH at all but that's probably just me. I wish the Hi HAT was never invented, I hate the fucking things :P

[OzNimbus]

Originally Posted by everybody's x

I tell the drummer to "hit every drum as hard as you can all the time and hit the cymbals like you're petting a kittie" This takes some adjustment but almost always pays off with a better balanced drummer making a better recording. I have a dish towel with a hole in the middle that goes right over the hats and have them play right through them (Try It! it works). Open hats are as close together as they can possibly be to avoid that horrible open hat wash over everything. Whenever possible I discourage playing open hat parts AT ALL. It's amazing how well that can fuck up a mix.I wish the Hi HAT was never invented, I hate the fucking things :P

Absolutely 100% goddamn fucking right on the money.

I hate hats too. With a vengance. I don't know how many times when setting up, the first thing a drummer will do is reach over for the hat clutch to open it up.
"What the fuck do you think you're doing?" I'll ask.
"Opening up the hats." The dumbfuck (errr drummer, I mean) replies.
"Is this a disco record?" I'll inquire.
"No. It's a metal record." The drummer blurts.
"Then keep the hats closed." I'll order.

What's really funny is when the drummer comes in to listen to playback, he can't belive how pleasant the hats sound. I've had a number of them say, "wow, I've gotta try that live!"

[everybody's x]

Originally Posted by OzNimbus

"What the fuck do you think you're doing?" I'll ask.
"Opening up the hats." The dumbfuck (errr drummer, I mean) replies.
"Is this a disco record?" I'll inquire.
"No. It's a metal record." The drummer blurts.
"Then keep the hats closed." I'll order.

I am SO saying that tonight.

Thanks for the quip

The whole open hat thing is EXACTLY the same as when you turn home boys gain way down on the amp and all the sudden he's got tone. "I have to try that live" Goddamn, you SHOULD (read:NO SHIT)

[Brett - K A L I S I A]

I don't like completely closed hi-hats, no power in that, and drums feel so empty... To each his own eh...

[everybody's x]

I don't make them close them all the way just the smallest amount open they can be.

[Matt Crooks]

How many people that hate the hi-hat are guitarists?


Anyway - I like the open hi-hat when the drummer knows what the hell he is doing. Bashing on it constantly sucks, but there is room for cool stick work on the hats in metal.