I mentioned last week that I’m doing a weekly video series on mixing drums for my VIP members.
If you haven’t become a member yet, now’s a great time to check it out. I’m walking through how I mixed the drums on my new album, and it’s a pretty interesting and different process than you’ve probably seen before.
Sign up here to check it out:
In last week’s video I covered how I used just the overhead mics and room mic to get my overall drum sound.
Here’s a comment VIP member Evan Sarli left:
“This showed me a new approach to OH…I normally do a HPF at like 400 Hz, so the OH are just cymbals/bleed from the rest of the kit…”
Evan did what most of us do when we think about mixing drums.
We see the overhead mics as “cymbal mics.”
Following that logic, then it makes sense to roll off any low frequencies and just blend in the overheads to give you the right amount of cymbals.
There’s nothing WRONG with this approach, but I think you’re missing out on some awesome drum sounds if you immediately relegate your overhead tracks to the “cymbal mics” category.
I like to TRY to get the drum sound from the overheads first.
That it allows me to not be SO dependent on the kick and snare mics for the drum sound.
In other words, YES, sometimes the OH mics will just be cymbal mics for me. But sometimes they can give you such a huge drum sound that you don’t need to heavily process and manipulate your kick and snare tracks to get a killer drum sound.
Hey, there are a million ways to skin this cat, but this method worked out nicely for me on this project.
What say you?
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