At this point in your setup, you can sit behind your snare with your feet comfortably accessing the pedals. Until then, be sure to check out the entire range of Audio-Technica instrument microphones here and follow Audio-Technica on Facebook, Twitter and YouTube. Be careful that it doesn't affect their groove or "feel.". Placing the overhead mikes directly above the cymbals and aimed down at them often accentuates the brass in the overheads at the expense of the rest of the kit. Cymbals can sometimes be overly bright and harsh sounding due to the conditions in smaller, acoustically under-treated rooms. To avoid this, the typical placement would be angle the mic at about 45 - 90 degrees to the hats, aimed at the edge of the cymbal for a shimmering sound, and at the bell for a harder sound. Oops! Ben Kweller needs no introduction…but he deserves one, so here goes. That goes for live and studio situations. Typically, you’ll want to accentuate the percussive nature of the cymbal, so placing the mic about halfway between the edge of the cymbal and the bell can aid in this goal. 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. De-essers, as their name suggests, are normally used on vocals, and are designed to reduce the apparent volume of sibilant sounds from consonants such as the letters s, f, v and t. These "hissy" sounds can often be louder than the main pitched parts of the vocal, and when they are, they sound rather annoying and distracting. Try and keep the Crash and Ride Cymbals from the proximity of the microphone. Drummers themselves are often a big source of the problem; being used to having to work to project their cymbals in rehearsal rooms and live venues with less than ideal PA systems and drum miking, many are accustomed to playing the brass rather hard. © 1995-2019 Harmony Central, Inc. All rights reserved. Try different overhead mic placements. Sometimes automating the threshold level of your de-esser by lowering it for louder hits and raising it on less aggressive hits can help you keep the level and sound of the cymbals more even and consistent. In additional installments, we’ll tackle the rest of the kit plus effects, so stay tuned (no pun intended). This can give you a "as the drummer hears it" perspective of the kit, and will usually de-emphasize the cymbals somewhat, resulting in a more evenly balanced recording of the entire kit. Some drummers have a knack for mixing the various elements of the kit as they play, which makes the engineer's job much easier. 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. Sometimes just letting them hear the problem is enough to encourage them to make an effort to correct it. - that way, you can memorize and concentrate on where the issues are for that section so you can manually compensate for them with corresponding adjustments of the fader while writing volume automation. Larger cymbal felts can have a damping effect on the cymbal that will darken the sound and shorten the sustain. Stereo placement is crucial to a great drum mix. Figure 1: The Eventide UltraChannel with a high shelf EQ being used to roll off the highs. This helps because it changes the impact angle of the drummer's sticks and can help to remind the drummer to go easier on the brass... but tread lightly here - drummers are like everyone else and they won't appreciate you going in and changing their setups without asking, but if you talk to them about it nicely and explain the issue, they might be willing to give it a try.