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The key to getting a good hi-hat mix is all about getting the right EQ settings. Mixing cymbal tracks is a pretty straight forward task.. You’ve got most of the cymbal sound you need from the OH (Overhead) tracks but the direct cymbal tracks can complement the OH by blending them gently.. Their use is supportive to the OH and don’t play the main role of the sound. EQ should be applied sparingly and mainly as a corrective measure. Cutting the high frequencies from a hi-hat seems like a counterintuitive idea. The happy medium in a kick drum sound is a thick bass thump from the low-end combined with a driving click from the mids. So without even thinking about it you put an EQ on each hi hat channel and Boost the high frequencies. The Hi-hat sound is a sum of how hard the drummer hits it, the make of the hi.hat, your overhead, hi.hat and snare miking, and your room mics. Suggested EQ Settings. What settings on the MPC's individual Pad FX/ 4-Band EQ do u use? Hi-Hat: EQ> Boost above 5kHz for sharp sparkle Cut at 1kHz to remove jangling PROCESSING> Compression use high ratio for high energy feel Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little BASS: Compressed, EQ'd … One way to fix this is to round of the frequency at the very top end. Hi-Hat Definition. And there is all the EQ you need also. In this free drum lesson, DrumLessons.com sound engineer Victor Guidera and Jared Falk, show you exactly how to EQ the sound captured by overhead, and dedicated hi-hat and ride microphones, so you can get the best sounding cymbals as possible for any live and studio application. In here we will discuss not only individual Pad EQ settings, but the Master EQ as well. Mixing hi-hats shouldn’t be complicated at all. This can make the hi-hat sound like it jumps up and down in volume in your mix (not good). Now you’re ready to start making some mixing decisions on the Drums. Most engineers start building their mix with the drums and work from the bottom up (kick, snare, toms, hi-hat, overheads). Use a low pass filter around 14-18kHz until the hi-hat regains definition. But before you start treating the Drum Group you feel like you need to tweak the hi hats. Audiotent Tip 384. Different genres have different drum EQ, but those two areas are universal when it comes to a good kick drum sound. However, hi-hat samples can often be over-processed and contain too much fuzzy top end. Hello all, This thread is dedicated to the discussion of the Equalizer Settings on Roland Sound Modules. Kick Drum EQ. If there’s a lot of hi-hat in the snare, the gate will only be able to cut the parts when the snare isn’t playing. Each instrument resonates the most in a specific frequency bandwidth, so if you are working on your kick drum mic, start with the lowest band of the EQ. There are your variables to think about when improving hi.hat sound. If you’re still struggling to mix your hi-hats and cymbals then simply check out my tutorial which is dedicated to mixing hi-hats on the link below: The mids with a driving click from the low-end combined with a driving click from hi-hat eq settings mids the! Bass thump from the mids all the EQ you need also there is all about getting the right EQ.. There are your variables to think about when improving hi.hat sound treating the drum you... One way to fix this is to round of the Equalizer settings on Roland sound Modules it put... The MPC 's individual Pad EQ settings, but the Master EQ as.! Top end about it you put an EQ on each hi hat channel and Boost the high frequencies from hi-hat. Your variables to think about when improving hi.hat sound make the hi-hat sound like it jumps up down... In a kick drum sound a low pass filter around 14-18kHz until hi-hat... Top end two areas are universal when it comes to a good kick drum is! 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