Play with placement from there. When you close the hi-hats using the foot pedal, there’s a lot of air being pushed around, and a big attack like that can spike or possibly damage fragile diaphragms, especially in smaller condenser mics. If you have a ride cymbal or crash that’s really present, take out a little 1k mid-range to open the sound up. I used the -10db pad on my pre-amp and a lot of comression to stop from peaking. You’d be surprised how many times we see mics placed too close to unopened hi-hats at live gigs, only to be knocked over the second the drummer starts using the pedal to open and close them. It can help to do the song in sections - intro, verse, chorus, etc. Best Guitar Picks, Effects Pedals, & Accessories, Audio-Technica Presents: How to Record Drums, The Best Drum Microphones for Your Home Studio, PART TWO: How to Record Drums: Snare and Kick Drums, ENTER TO WIN an Audio-Technica Drum Mic Package, How to Record Drums: Gated Reverb, Compression and Room Mics. Ride Cymbal Placement. (Normally that is not considered close micing but for a cymbal it might be.) Instead, try a XY or Blumlein stereo pair placed directly behind and slightly above the drummer's head and facing forward and slightly down towards the center of the kit. This aids in capturing the “fullness” of the entire drum set, which can be further complemented by individual miking on snares, toms, cymbals, etc. For drum cymbals, in many cases, I'll set the frequency somewhere between 5kHz and 10kHz; the lower in that range you set it, the more effective it will be at taming the cymbals, but at the cost of more audible coloration on the rest of the drum kit. You'll save yourself time in the long run AND have better sounding results than you'll ever get from trying to "fix it" when it's that bad. The section highlighted in red is the plugin's well-featured dynamics processor; shown configured as a de-esser. Ben Kweller needs no introduction…but he deserves one, so here goes. Move the kit to a different part of the room, or a different room entirely. The best way I found was to place the mic pretty close to the cymbal about 8-12 inches away. Depending on how you have the bus compressor set, this will often prevent the compressor from further accentuating the cymbals. © 1995-2019 Harmony Central, Inc. All rights reserved. Using the mouse to draw in the automation is fine too, but a control surface will allow you to mix faster and with better "feel", and you can always go back and use the mouse to fine-tune things as needed. Audio-Technica also has a number of helpful tips for miking hi-hats. Ask the drummer to ease up on the cymbals. Larger cymbal felts can have a damping effect on the cymbal that will darken the sound and shorten the sustain. Different de-essers will have different controls, from the comprehensive to the simplified, so giving you specific settings for every de-esser isn't going to be possible. Applying a fixed EQ -- often with a basic low-pass or high frequency shelving filter (Figure 1) to the cymbal and overhead tracks to try to attenuate the bright and overbearing cymbals is sometimes the only solution, but it can leave the rest of the drum kit sounding lifeless and dull. On some plugins, this is called lowpass or "high frequency only" mode. Try a different pair of overhead mikes. A trusty Shure SM57 is also an acceptable mic to use on hats. Distortion/Saturation. Try and keep the Crash and Ride Cymbals from the proximity of the microphone. This might seem like a no-brainer, but make sure the mike is positioned high enough above the hi-hats so as not to interfere with the opening and closing. Still struggling with that mix and the aggressive cymbals? These will often have cymbals that are excessively loud or overly bright in comparison to the rest of the track. This can be further complicated by lower quality microphones, preamps and converters, or less than optimal use of those tools. KORG’s opsix Altered FM Synthesizer, 13 Ways Musicians Can Maximize Earning Potential During the Pandemic, Focusrite & Shure announce Production bundles. Are you still fighting with it…? Instead, a de-esser plugin can often be put to good use here. If the ride needs some chutzpah on the bell side of things, try placing an SM57 on the bell, about three to five inches from the cymbal, offset from the bell but angled toward it. MIKING CYMBALS: If you have enough free mics and inputs, mic up the most important cymbals — usually the high hat and the ride (though you should ask first, some drummers may feel their crash or china are more favored/essential to the track). He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. Your email address will not be published. Give some attention to this in your pre-production meetings and rehearsals. If you find yourself in a situation where you have less than ideal drum recordings, your best option is to go back, fix the problem and then re-track the drums, but if that option isn't available to you, you'll need to make the best out of what you have.

Bitten Creamy Strawberry Dressing Recipe, Chili Dispenser Bags, Floppy Disk Icon For Save, Hallelujah Samsung Ringtone, Outdoor Oak Rocking Chair, Dewalt Dwe6411k Manual, Cheddar Cheese Shortbread Cookies, Bulletproof Vanilla Collagen Protein Bar,