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Favourite EQ for Hi-Hat Consoles
Old 29th August 2007
  #1
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Steamy Williams's Avatar
 

Favourite EQ for Hi-Hat

When you want to EQ a hi-hat (or a ride) what do you usually reach for first?

Also, are there any other processors other than reverb (e.g. a compressor) that you often use on the hi-hat?

I realize that many of you often submix the hi-hat along with the overheads, but I have to admit that I am not particularly interested to know what people use for that, as I always prefer to treat them seperately. Finally, I would grateful if we could refrain from turning this thread into a debate about whether or not it is necessary to mic the hi-hat.
Old 29th August 2007
  #2
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cebolao's Avatar
 

i don't think a lot about eqing hihat

i use all the best eq's on other, more important instruments and eq the hihat with the usual eq on the mixer, sometimes leave it with no eq. it depends. but it's usually not the most important instrument in the mix.
Old 30th August 2007
  #3
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Usually I'll high-pass it, de-ess it, and then leave it out of the mix entirely!
Old 30th August 2007
  #4
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PapillonIrl's Avatar
 

Quote:
Originally Posted by Confusionator View Post
Usually I'll high-pass it, de-ess it, and then leave it out of the mix entirely!

LOL

If it helps...when I use a hat mic, I will sometimes try and use the eq (and polarity switch) on the close mic to conteract any hihat uglies in the OH's, as long as that doesn't mess with the bleed (snare, nearby cymbals) into the hat mic.

If I take this approach, I will often use a nice dynamic mic with a tight pattern.

A hat mic can help with positioning them in the stereo field also.

I don't stress to much on what eq I use. Usually the best of what's left.

Nathan
Old 30th August 2007
  #5
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picksail's Avatar
 

Digi EQ3 or Massenburg plug-ins.

Occasionally if it needs to penetrate more then I'll use the Waves TransX Mulitband.

Within the right context, I often try to incorporate a HH reminiscent of an MPC HH. For this to work it needs to poke you in the eye.

If the HH is considered a primary element then I may even resort to parallel compression, though it is seldom required.
Old 30th August 2007
  #6
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jmikeperkins's Avatar
For hi-hat or drum overheads, I love the (Siemens made) Filtek MK3 modules from the 1970's. These are pretty common on ebay and from some German dealers. A racked pair can be had for about $1,000. Made for mastering, they are very accurate and non-destructive, and the high end boost is killer for any sort of cymbal. In fact, all of the vintage Siemens made eq modules that I have used are wonderful for high hats or drum overheads.

J. Mike Perkins
jmikeperkins.com
Old 30th August 2007
  #7
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octatonic's Avatar
Quote:
Originally Posted by Confusionator View Post
Usually I'll high-pass it, de-ess it, and then leave it out of the mix entirely!
+1.
I don't know why I bother miking it anymore... habit probably.
Old 30th August 2007
  #8
The first couple posts really seem accurate, IMO.

I try to go for an EQ that's smooth in character to help keep the highs from ripping your ears apart when boosted. I highpass pretty high up and often do considerable cuts in the mids and low mids. I'll then sneak it up in the mix until it sounds right. I'll live with that for a few minutes, then mute the track to see if it's really even needed. About half the time it stays out.
Old 30th August 2007
  #9
Quote:
Originally Posted by octatonic View Post
I don't know why I bother miking it anymore... habit probably.
I've pretty much never mic'd it until recently. Lately I've been getting more and more good drummers in and some of them do some pretty cool, intricate stuff on the hat that sometimes evens fits well in the mix. Those are the times I'm glad I recorded it and glad I kept it in.
Old 30th August 2007
  #10
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stevep's Avatar
Use The Mic :))

When tracking i try and pick the mic and placement that will do the EQing for me, but if there is still to much bass build up i will use a HiPass filter on the way in to tape, then during the mix i rarely have to filter out anymore low end


I rarely add any EQ, its mostly always cutting the lowend with the filter on the console

When tracking to tape im limited on tracks so i will usually print the hat anyway, but i know it might get erased for back vocals or other overdubs later

In Ptools its always printed



.
Old 30th August 2007
  #11
Gear Maniac
 

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.

There are your variables to think about when improving hi.hat sound.


And there is all the EQ you need also.

If you're EQ'ing the hi-hat mike your only making 20% of the hi-hat sound go out of phase with the rest. The result is unwanted smear.

If you're EQ'ing other mikes with regard to the hi-hat you're fing up the whole drum sound.

You've got to make the hi-hat sound right acoustically within the kit.


Fast forward to solution:

Get the darkest Hi.Hat you can find and the softest hitting drummer regarding hi.hat, and be happy.
Old 30th August 2007
  #12
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Steamy Williams's Avatar
 

A few people have mentioned how they normally EQ the hi-hat, but not what they might use to acheive this. If you just use the EQ on the mixer, then what mixer do you use, or what is the EQ on your mixer like (e.g. is it fully or semi parametric, stepped or sweepable, and are the highs/lows shelving or peaking)?

For those of you that mention changing the hi-hat or the mic placement before reaching for an EQ, etc, what if you are mixing a song tracked by someone else? And if you are concerned about phase, then try to imagine that the drums were tracked with great seperation ala "Billie Jean", so that the phase is not such a big issue. Alternatively, what if the drums are programmed and the hi-hat sound is almost there, but not quite (i.e. close enough that you would persevere with the same sample)?

I just wanna know what EQ you use for the hi-hat!
Old 30th August 2007
  #13
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Empire Prod's Avatar
 

Neve 1081 high shelf
Old 30th August 2007
  #14
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cebolao's Avatar
 

i mix on NEVE VR console, so it's usually the regular channel EQ, sometimes HP FILTER is enough

recently i started to pay more attention to hihat, i made an acoustic jazz album, during tracking is thought "ok, i'll put a mike on hh just in case, but probably won't use it at all in the mix", which appeared to be untrue - the hihat gave a lot of beautiful sound.


bu the way - have you ever tried to mike the hihat with dynamic microphone? (of course not in acoustic jazz project, but i think for reggae for example it rocks)
Old 30th August 2007
  #15
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tomdarude's Avatar
HPF plus EL Fatso warmth
Old 30th August 2007
  #16
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The Reel Thing's Avatar
 

a wonderful hihat EQ is the Urei 565T Little Dipper.
using the HPF and LPF plus maybe a high midrange dip i can get a hihat really really loud in the mix (if i want that) without it ever getting in the way of anything else.
sounds smooth.

tom
Old 30th August 2007
  #17
Here for the gear
 

My EQ is Mic placement and hihat choice.
and the flters on the preamp.
I never Eq Hihat!
Old 30th August 2007
  #18
Gear Addict
 

Ren EQ. Usually set for high pass.
Old 30th August 2007
  #19
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AllAboutTone's Avatar
 

Unless it a punk band i do not mic hats.
Old 30th August 2007
  #20
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macgee's Avatar
i would reach for a sony oxford or renn eq. essentially a nice clean eq which boosts nicely. you don't want a brittle high end. i'd imagine sonalksis eq would be good too
Old 30th August 2007
  #21
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PapillonIrl's Avatar
 

Quote:
Originally Posted by Steamy Williams View Post
A few people have mentioned how they normally EQ the hi-hat, but not what they might use to acheive this. If you just use the EQ on the mixer, then what mixer do you use, or what is the EQ on your mixer like (e.g. is it fully or semi parametric, stepped or sweepable, and are the highs/lows shelving or peaking)?

....

I just wanna know what EQ you use for the hi-hat!
Neotek Elan II channel EQ. Hi/Lo Shelf, 2 parametric mids, fixed Q. UAD-1 Pultec Pro if boosting itb, Cambridge if it need surgery.

Cheers,

Nathan
Old 30th August 2007
  #22
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firby's Avatar
 

Quote:
Originally Posted by glitch View Post
I've pretty much never mic'd it until recently. Lately I've been getting more and more good drummers in and some of them do some pretty cool, intricate stuff on the hat that sometimes evens fits well in the mix. Those are the times I'm glad I recorded it and glad I kept it in.
Hi. I am a jazzer and funk player. I play pretty hihats quite a bit. My latest thing is micing it with a Beyer handheld ribbon MX200 ? put it about a foot or two away with the pattern to exclude as much else as possible. Aim it at the sweet sounding hihat which for me is the top.

For something like a hihat I like the ribbons cuz they take eq so well. I eq with the board eq on a trident 24. I have been happy with this sound.
Old 30th August 2007
  #23
High pass at 400 hz, no EQ. If I add any tops here it's like a thousand ants crawling all over your body, it's too revealing and toppy, not ugly like PT's, just too much tops that make the hat sound unatural, sort of like a drum machine cymbal. I also never boost tops on overheads, I have so much detail there it's already clearer than 99% of the releases out there set flat.

Clean mics, clean preamps, clean cables, clean converters, there's nothing else to do unless I want to make it sound worse.

Jim Williams
Audio Upgrades
Old 30th August 2007
  #24
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crypticglobe's Avatar
API all the way. OLD API 312's for the pre, and then top end shaping with a 550b (in my case 5500). Depending on how good my isolation is, I might do a variety of other things. Usually high pass, or roll off everything below 400 or so. I recently discovered that I absolutely LOVE the Chandler TG compressor (real deal or plug-in... real deal being first choice) to compress it.

This compressor is the only one I have found that will bring up closed hat strikes without killing the attack, and with the same setting level out massive open thrashes... again without making it sound totally washed out. It's a LOVE thing.

I generally WILL use this track when there is a lot of closed hat stuff going on... specially in the verses, etc... when it's really defining the groove. I just don't get the presence and warmth I like when only using the overheads.

If it get's into some serious hard hitting or thrashing in louder sections, depending on how it sounds in the OH's... I might pull it down, or completely out. If it sounds really good in those sections, I will leave it full in lately because the TG compressor really keeps it from jumping out of the mix.

jmtc...
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