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Originally Posted by karl From the other side you can watch the drummer when playing carefully. Stop the performer if he hits the cymbals too quietly and try to get good volume from the cymbals. That way you can turn down the overheads a little. Also cut the gaps between each tom hit to stop the hats coming in from there as well. |
I completely disagree but to each their own. I tend to find that cymbals are always a problem so hitting the cymbals too loud causes all kinds of issues with the mix when you squash the drum room mics or when you re using parallel compression on the whole kit. Loud cymbals are a bad thing to me.
I'm with Rodney (back at ya..
) I have never had any luck with the " SNARE-MIC SHIELD THINGY" myself.
I know you are not going to want to hear this but you really have 4 choices. 1) 100% sound replace the hat and the snare 2) play the hat separately 3) really work with a gobo and place the mics in a way to cut the bleed 4) just don't worry about it.
I have tried 2 and I have never liked the results, the groove suffers. 1 never feels real to me (not that I am against replacing things, I think "supplementing" is a better word for what I do). 3 is a pain in the ass and I always seem to compromise the best mic placement for each with very little gain.
4 is really the best way to go, put up some nice mics on a well tuned kit with a good player and make the drums sound like they do in the room. If you want to, pan the hat track 100< or > then sneak that into the mix. If that does not work and you want a completely separated kit then hook up a drum machine, that is where you are heading anyway with total separation.
YMMV....