two hi hat mic technique?

[Beezoboy]

jamiecer...hmmm...two mics on a source = doubling the source. Whether you print it to 2 different tracks or one there is no difference. Whether you combine during tracking or during mixdown, it is still doubling. I would personally record the 2 seperately so that I can play with the sound at MIXDOWN.

I have a great idea though, why don't you try a ribbon, PZM, condenser, and a dynamic so that you can get that amazing hi-hat sound you've always dreamed of. You can get the subtle nuances of each and blend them. The best tom sound I have ever heard was with 6 57's per tom. One for each lug. It picked up the individual overtones from every lug, and since two lugs can't be exactly the same that was a lot of overtones. I mean who cares if you use 18 mics for 3 toms alone. The tone will just be amazing. And you can always cut one or two if you don't like, unless they are printed to one track.

Remember mic PLACEMENT is more important that mic quantity in most situations. With drums, placement can be even more important than normal.

Sorry if I sound harsh or mean, but I am just trying to make my point. I don't dislike you and I think your question is certainly valid, although it is a bit odd!

Beezoboy

 

[James HE]

Your not crazy. These guys are giving you shit cuz they wanna give sombody shit and it might as well be the dumbschmuck talking about two mics on a highhat.

Listen to the music. If having some gorgeous hi-hat sound is going to make it so much better then why not experiment a little. Otherwise, don't waste your time, just make sure that it's a great performance going to tape.

I can see a use in this. If i were to mic a hi-hat, I actually might would try this. A high hat has two very different sounds, open or closed. Say perhaps you wanted a pretty agressive sound for the open hi-hat stuff, and you have the perfect mic for that sound. But it's not all that for more delicate closed hi hat stuff. BUt you have a mic that sounds just right for that too. Cool. options at mixdown. If it sounds great with both mics, sweet. It would be cool to put a flange effect on one of the mics, for some nice effect in just the right place.

I'm inspired. I'm digging the sound of a 57 right dead in the center of my 1x12 extention cabinet. I'm going to take a 57 and a behringer ecm8000 and duct tape them together and put em right on the grill of the cabinet where i usually put the 57. cuz well that would just be cool. and it's gonna sound awsome.. lol might be friggin awsome in stereo.

 

[Beezoboy]

Man, don't mess up your mics with duct tape. Just use 2 stands. I wouldn't even put duck tape on a 57, unless I was in a live gig and had to.

Come on, thats going to make your mic disgusting and sticky. I forgot to mention that one in my rant. I hate to even tape down my cables. I'll put a mat or rug over them instead.

Beezoboy

 

[esactun]

If you need tape, spend some $$$ on gaffer's tape. It'll hold stuff down and/or together and is made to not leave adhesive crap all over the surface once removed. It's often used to hang spot lighting and such by TV crews. It won't cost an arm and a leg, but it costs lots more than duct tape.

 

[esactun]

All I play is hi-hat. . . you guy arent making fun of me are you? I have happened to compose a VERY NICE piece I (cleverly) entitled. . . . . . . . . . Concerto for Hi-Hat.

A pal of mine once did a reworded cover of "Get Back" with nothing but hihat and vocals. It was strange. I have a copy of it somewhere.