Hey i just was doing some reocording and i listend to the recording after i was done and i noticed that the
hi-hat was up too high. so i brought it down as much as i could on the over head and its still cutting through
a lot of the other cymbals what should i do?

You could hit it lighter maybe. Do you play with a nylon tip stick because they are louder or more accented sort of.

Yeah, you may just have to retrack the song if you don't have a dedicated hi-hat mic'.








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Dr. Rodney McKay wrote:

Well, I only know one thing and that is that flying darkness that eats energy can only be very, very bad.

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SGarrett wrote:

Yeah, you may just have to retrack the song if you don't have a dedicated hi-hat mic'.

how would i do that As you can tell im kinda new at this.

Did you do this recording on your own gear? If so, you just need to re-record, or retrack, your part playing lighter on the hats.. If you don't have a hi-hat mic' (I don't) then you've just got your over-heads. At that point, there's no way to separate the hats from the crashes with mixing.

Also note that this may well be how your live sound comes across.








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Dr. Rodney McKay wrote:

Well, I only know one thing and that is that flying darkness that eats energy can only be very, very bad.

http://www.MySpace.com/PageFive

Quote:

Also note that this may well be how your live sound comes across.

Yup.

It's a very common problem for drummers to apply too much volume on their hihats/ride if they haven't recorded themselves playing. It's kind of like when a vocalist hears themselves back on tape for the first time. The tape don't lie. Adjust the volume of your limbs.








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First time I recorded my A Custom mastersounds they were all I could hear.

Someone once said accuracy is more important when recording than power. No idea who, but when I heard that I took heed. There are mics, processors, engineers etc etc that can do all kinds of things with your drums and the tone they produce. Give them a great full tone and that will make all the difference to the overall sound of the kit. More so than hammering on it.

With hats and other cymbals especially, just give em enough to get a nice sound.








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Rob Crisp wrote:

First time I recorded my A Custom mastersounds they were all I could hear.

Someone once said accuracy is more important when recording than power. No idea who, but when I heard that I took heed. There are mics, processors, engineers etc etc that can do all kinds of things with your drums and the tone they produce. Give them a great full tone and that will make all the difference to the overall sound of the kit. More so than hammering on it.

With hats and other cymbals especially, just give em enough to get a nice sound.

Also, the quieter you play your cymbals the bigger your drums will sound.








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Dr. Rodney McKay wrote:

Well, I only know one thing and that is that flying darkness that eats energy can only be very, very bad.

http://www.MySpace.com/PageFive

Seriously, cymbals cut through much louder than one might think from sitting behind the kit. When recording, one should readjust the volume of cymbals vs drums to where the drums are a bit louder than the cymbals from back behind the kit. Don't smack those cymbals, caress them.

People are often amazed by how different their kit sounds from "out front" than from behind the kit.

In rehearsal I'll often think I'm barely loud enough to be heard, then I play bass on a tune and find the sound of my snare drum chopping my head off. I've learned that I don't usually need as much volume as I think I do to cut through a band.








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SGarrett wrote:

Rob Crisp wrote:

First time I recorded my A Custom mastersounds they were all I could hear.

Someone once said accuracy is more important when recording than power. No idea who, but when I heard that I took heed. There are mics, processors, engineers etc etc that can do all kinds of things with your drums and the tone they produce. Give them a great full tone and that will make all the difference to the overall sound of the kit. More so than hammering on it.

With hats and other cymbals especially, just give em enough to get a nice sound.

Also, the quieter you play your cymbals the bigger your drums will sound.

I'd never thought of that one!








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theres not much you could do here, you could try to isolate the frequency range where the hi-hats are present and take it out a bith with a really narrow eq but you probably not going to be able to get just the hi-hats lower without lowering all the other cymbals too

I assume you used your own gear. The best thing about this is you have all the time in the world to get what you want. Try a few different placements of the overheads. I do mike my hats, so i like to keep them somewhat out of the overheads. If I'm playing a loud pair of hats I'll try to get one of my crashes between the hats and the mic. Also, try different micing tecniques. Record some x/y and then spaced stereo and different distances from your kit, go get a bite to eat and come back and listen to them all and make a decision.

Hit your cymbals lighter and toms and snare will sound larger. Bohnam knew that.








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ON A MISSION TO SLAY THE RUSH'N DRAG'N

SGarrett wrote:

Rob Crisp wrote:

First time I recorded my A Custom mastersounds they were all I could hear.

Someone once said accuracy is more important when recording than power. No idea who, but when I heard that I took heed. There are mics, processors, engineers etc etc that can do all kinds of things with your drums and the tone they produce. Give them a great full tone and that will make all the difference to the overall sound of the kit. More so than hammering on it.

With hats and other cymbals especially, just give em enough to get a nice sound.

Also, the quieter you play your cymbals the bigger your drums will sound.

that's part of the Bonham sound secret. dude hit his cymbals really light in the studio

also, that's why i NEVER have a dedicated hi-hat mic in the studio. I once asked an engineer why he wasn't micing the hi-hat and his response was perfect "there's 20 mics on the hi-hat". they all pick it up








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Gretz wrote:

SGarrett wrote:

Rob Crisp wrote:

First time I recorded my A Custom mastersounds they were all I could hear.

Someone once said accuracy is more important when recording than power. No idea who, but when I heard that I took heed. There are mics, processors, engineers etc etc that can do all kinds of things with your drums and the tone they produce. Give them a great full tone and that will make all the difference to the overall sound of the kit. More so than hammering on it.

With hats and other cymbals especially, just give em enough to get a nice sound.

Also, the quieter you play your cymbals the bigger your drums will sound.

that's part of the Bonham sound secret. dude hit his cymbals really light in the studio

also, that's why i NEVER have a dedicated hi-hat mic in the studio. I once asked an engineer why he wasn't micing the hi-hat and his response was perfect "there's 20 mics on the hi-hat". they all pick it up

Yep, that's where I got it from. Something I'm working on right now, myself.

And that's so true. Even the kick mic' picks up small amounts of the hats.








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Dr. Rodney McKay wrote:

Well, I only know one thing and that is that flying darkness that eats energy can only be very, very bad.

http://www.MySpace.com/PageFive

You serious? Jeez, I hadn't heard of that technique before. You would have thought in this day & age you would be able to record drums without having to compromise your playing style by hitting cymbals lighter. Isn't that tricky if you're getting right into the music?

Isn't it also about choice of hats? I used to use a pair of 14" top-heavy Paiste 404's back in the olden days which were unbelievably loud and a problem in the studio. I've used 12" Zildjians for years and they're great & splashy.

T.








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