Hey guys! Please remember this is just a guide on two approaches for mixing overheads, not a definitively how to EQ them, as this will vary greatly depending on the rooms and the cymbals etc make sure you watch both methods and you’ll be able to cover a wide range of genres and applications. Method one is great for more warmth/fullness - which is good in country, rock, folk kinda stuff. Where as method two is probably better for denser mixes, like big rock/pop productions and heavier metal and punk tracks. As always, use your ears and determine what YOUR mix needs :) hope you enjoy the video!
Great video! The “less is more” approach is a great call for overheads. I like the natural approach better in this context as the drums seem to have more depth and dimension, but it’s a subtle difference overall and the song itself would come across just fine either way!
Thanks Simon! I agree, less is more is generally better for overheads. All the times I’ve done crazy EQ, notched resonances etc etc, ends up sounding lifeless or just really unnatural. I usually end up taking off half my overhead processing when that happens and go with something simpler like this. A lot of the time the problem can just be getting the right level, not necessarily going crazy with processing to fit them into the mix. Thanks for watching man
Both approaches are fine. I think the decision can be made depending on the genre. With this mix, I prefer the more natural mix. I like how it the natural processed overheads just thicken up the mix a bit. The cymbals are pushed back slightly. In the other mix, the cymbals are pushed forward too much for the mix and don't sit in the track as well, in my opinion. It also makes the snare a lot brighter.
Being a drummer, I'm gonna like the natural sound more, but for my own mixing I've been taking the 'processed' approach just because that's what I've seen. I'm going to experiment a bit more with the natural vibe for a bit, thanks!
I always try and get as much of the kit sound from the OHs as possible, so the close mikes are just a tasty bonus - but always end going one of these 2 routes anyway! 🙂 good vid
Hey! I just found your channel a couple weeks ago. Super good! I really like your presentation style and you play great examples. Also, you are on Logic which is a bonus.
Your approaches are near to my thoughts about drum mixing, very nice and thank you! I love the way to use the SSL channelstrip. If you use it right it will be perfect!
Yeah it’s just the difference in overhead processing! Both sound good, the “natural” is just a bit warmer than “processed/filtered”. Depends if you want things really clean, or like a bit of extra warmth from the overheads low end.
If I was using overheads as the majority of the sound, then I wouldn’t too much information out, just anything that sounds muddy or harsh. Gentle compression. Blend close mics just enough for reinforced impact.
I have no experience with real recorded cymbals but i ve noticed on programmed drums , the more low end i cut the more digital and harsch the cymbals sound and the more i reduce the harschness the more they dont sound like cymbals anymore..
I see this working if you have a glorius sounding room that you're trying to capture and if you're recording country and Indie bands. But I advise people recording heavy metal and rock bands, don't try to EQ the drumset as a whole from the overheads. In a dense mix, relly on the close mics from the ground up and steeply filter and EQ the overheads for the cymbals only. And always use a hi-hat mic
Exactly man! Did you make it to method two? This would be ideal for dense mixes with the high pass filter taking out a lot of the low end. These drums were tracked in a small room but with a decent amount of treatment which makes it easier to clean them up! You can still get great results in home studio set up (like mine), you just need to invest in some treatment for the space you’re tracking in!
@@spinlightstudios yes and it's a good video. I just saying it doesn't necessarily apply to people that are recording out of their small amateur Studios and trying to do dense loud Rock
Thanks @@viol8rmusic I think the approach is there, if you know how to set up overheads properly and have half decent cymbals, there is no reason the second method isn’t a good starting place for dense rock by rolling out the low end and EQ out anything causing clutter :) how you EQ though is definitely a case by case because there is too many factors to say exactly how someone should EQ their overheads. Might have to do something a bit heavier next time! People just keep sending me country songs at the moment 😂
interesting i found the natural approach in your example had a lot more depth / more 3 dimensional could sort of place the cymbals in the space better the hi passed one seemed a bit flatter by comparison.
I agree, I like the depth and thickness it adds, toms and snare sound bolder and I like the fullness to the cymbals as you get some of the lower tones in there, but for some styles I also appreciate that cleaner, thinner sound!
Thanks, very interesting! I have a question related to OHs. In the DAW I see you have two separate mono channels panned instead of one stereo channel. I guess you are then recording with two channels in mono in your audio interface, is that correct? Do you see also a scenario where you record them with two channels in stereo in audio interface going in one stereo channel in the DAW? Thanks
Hey Robert, it’s kind of the same thing really - i could track these as a stereo input in my Daw, but then it makes It harder to adjust levels on left and right as well as panning - or even if I need to shift one side to fix phase. It’s just easier to track them as mono channels and pan them out then create a bus in my daw for processing them together.
The second method you showed with the high-passed OH's shocked me when you brought it back into context. Going to definitely try that method next time I'm mixing. Generally speaking, Rhys, from an engineering perspective, do you prefer to treat your OH mics as 'cymbal mics' or 'kit mics'? Cheers :)
Hey Tyler, it’s kinda depends on the genre I guess! Like if the mix is dense and I want bright/punchy sounds, I might do the second method and let the close mics create the overall sound of the kit. Or if I want big thick drums, I’ll use the overheads to beef things up :) just a track by track decision really!
Hi Spinlight Studio, amazing video on mixing overheads! Hope you won't mind a question. I have been using plugins and would like to purchase a hardware compressor to try. My concern is how can I add compression to multiple tracks individually (drums tracks) if I only have one hardware compression unit? Do I have to purchase 5 units for 5 drum tracks? It's straightforward for plugins but I'm stumped when it comes to hardware. Thank you!
Hey mate! Thanks! You definitely don’t have to buy loads of compressors if you don’t want to spend that much money straight away. I would suggest starting with buying a drum bus stereo compressor, that way you can have all the drums running through a piece of hardware and adding some Colour to the entire kit. You could also individually compress your sounds and print them back into your DAW to free up the compressor to use on other sounds. When entering the world of hardware, it’s best to do it slowly and get an understanding of how to integrate it into your workflow, then starting building it up!
@@spinlightstudios Investing in a drum bus stereo compressor first definitely sounds like a good idea. Compressing and printing back to daw is a solution but a plugin would be more flexible for the time being. Thanks for the wise advice! Getting a piece of hardware can be a huge commitment and I'm grateful for your videos and comment which is helping me out a lot! :)
i have an issue in the OH's where its generally sounding good except the mics pick up the odd hihat tick that really jumps out..I think its because of where the drummer hits the hat + it's closed tight..it sounds like a digital click!..i tried getting rid of it with a an EQ band but it ruined the rest of the kit..so Ive gone in manually and gained those hh hits down....any suggestions?
I know what you are talking about, it’s the tip of the stick hitting the cymbals and sounds so annoying. Usual a “Declick” plugin can get rid of them. Izotope Declick or mouth Declick work pretty pretty well sometimes! Just use it on the offending area of audio - not the whole track.
I really don't see how you can tell people to cut certain frequencies without hearing their tracks first! Not all overheads will require the same particular frequency cut!
Hey mate! Exactly, I pinned a comment mentioning this exact thing :) the concepts are more about filtering out low end, or just gently EQing the full kit in your overheads. Never said anywhere in the video this is exactly how you should EQ your overheads.
