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#1
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Processing and Mixing OH\'s
So how do you guys like to balance your OH's compared to the kick,snare, and toms. Sometimes when I listen to alternative rock bands like Linkin Park or System of a Down...the drums actually seem very low compared to the guitars, but the mix still sounds big and has a lot of energy.
When I'm mixing drums compared to my guitars I always seem to raise my OH's loud but than my high hat feels so damn intrusive. So again...how do you like to process (EQ,Comp,etc.) and blend your OH's into the mix? Thanks. |
#2
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Re: Processing and Mixing OH\'s
I always start with the O'Heads. Bring them up to about -1 on the PT fader. Add a bit of top end if necessary to bring in the sheen, roll off extreme low end.
Then I start adding in the kick, snare, hat (often never use this mic because it is already in OH's), edited toms, room mics (very low if used at all). The O'heads are really the basis of the kit; hopefully they are recorded well; not too close so that the hat kills, not too far to not get crack from the snare, and I really hate it when I get 1 OH. |
#3
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Re: Processing and Mixing OH\'s
it's all about touch,experience,chops.
when you bring up an overhead, and the hat is intrusive,why is that the gear's fault. way too many drummers fail to recognize cymbals can easily overpower the rest of the drum kit. gather the data for yourself tho', but I 'm finding,big kick,snare,and toms(hit 'em sorta hard) with a lighter touch on cymbal's( don't hit 'em so hard) WILL yield a bigger/better drum sound from all the mic's. [img]images/icons/tongue.gif[/img] END:REPETATIVE SOAPBOX [img]images/icons/smile.gif[/img] |
#4
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Re: Processing and Mixing OH\'s
I start with the principle that the OHs must present the kick in the middle.For this reason i always tell the drummer to hit the kick and watch the meters on the OHs,so they have the same reading,otherwise i move the mics accordingly.
The last precaution is that i tweak the toms' pans to match the stereo image of the OHs.Then i can start recording. |
#5
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Re: Processing and Mixing OH\'s
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Therefore I phase align all OH tracks after recording to the top snare mic, otherwise you get a Haas effect to the (normaly) right hand side. Cheers Wolfgang
__________________
www.srs-mastering.de Mac Pro 6.1-8core, OS 12.6, PT2023, HDX2, Sonnet Echo Express III-R, Madi Interface. |
#6
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Re: Processing and Mixing OH\'s
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Therefore I phase align all OH tracks after recording to the top snare mic, otherwise you get a Haas effect to the (normaly) right hand side. Cheers Wolfgang <hr /></blockquote><font size="2" face="Verdana, Arial">Sorry,i frankly didn't understand what you meant. You can't have distinct echo(>30ms) between the OH's image and the direct mics because the distance between them is usually very small. In addition to this,if someone wishes to have his mics time alligned,he should delay all drum mics according to the OH's position. Please explain. |
#7
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Re: Processing and Mixing OH\'s
For me too the snare has to be in the middle. But I prefear to do that with the micplacement of the Overhead mics. The OH Mic which is closer to the snare can be placed a little higher, so that the ways form the snare to both mics are the same. This is anyway often a better sound, because mostly the Hat is close to the snare (so it is a little less on the OH Mic if the drummer plays it loud), then ofthe the rides and crashes on the floortom side are placed a little lower, and the crashes on the snare/Hi Tom sound are placed a little higher.
daniel www.ideeundklang.com |
#8
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Re: Processing and Mixing OH\'s
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#9
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Re: Processing and Mixing OH\'s
Quote:
You can't have distinct echo(>30ms) between the OH's image and the direct mics because the distance between them is usually very small. In addition to this,if someone wishes to have his mics time alligned,he should delay all drum mics according to the OH's position. Please explain. [/QB][/QUOTE] Why should I delay all mics to match the OH´s position? The main instrument of the drum set is the snare. Therefore I phase alligne all the rest of the drum mics to the snare. The snare has the most attack, most overtones and is normally the loudest instrument in the drum set. If you look at the signals in the sample resolution you will see that even the closest non snare mic´s (hihat) delay is that big that the initial attack of the snare could be out of phase. And the more mics you have always open when the snare is played and are not phase alligned (except the room mics) the more attack and overtones you will loose in the final mix. And for the Haas effect you don´t need delays of 30 ms or greater to hear it. Cheers Wolfgang
__________________
www.srs-mastering.de Mac Pro 6.1-8core, OS 12.6, PT2023, HDX2, Sonnet Echo Express III-R, Madi Interface. |
#10
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Re: Processing and Mixing OH\'s
Thanks for your reply.
I have 2 questionsoesn't Haas said that a difference of 15-30ms enhances the listener's perception,or am i wrong? Also,isn't it true that the overheads captures the sound later than every direct drum mic? So,shouldn't all mics be delayed in relation to them? Please correct me,even if these sound stupid. |
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