07-10-2016, 09:20 PM
I find that, no matter how often I remix this track, the hi-hats are always a problem. This is inherently due to the fact that their bleed is all over every single other mic'd instrument in the audio pool! However, it's so hard to treat, since the bleed on the tracks is fundamental to keeping the vibe of the track intact.
Very hard to work with, but makes for great practice!
In the case of your mix, I'd dampen the hat and other overheads ever so slightly by being careful with your EQ around the 14kHz+ mark. I used a multi-band compressor to quickly dampen and then open up this region on my OH tracks, the room tracks and the bleedy guitar tracks. I completely deleted the original hi-hat track from my audio pool and didn't use a comp/mult of it anywhere in my mix. I just used the hi-hat signal on the other tracks in the audio pool.
Good work, looking forward to hearing your future mixes.
Very hard to work with, but makes for great practice!
In the case of your mix, I'd dampen the hat and other overheads ever so slightly by being careful with your EQ around the 14kHz+ mark. I used a multi-band compressor to quickly dampen and then open up this region on my OH tracks, the room tracks and the bleedy guitar tracks. I completely deleted the original hi-hat track from my audio pool and didn't use a comp/mult of it anywhere in my mix. I just used the hi-hat signal on the other tracks in the audio pool.
Good work, looking forward to hearing your future mixes.
Please message me for recording/mixing collaborations. I'm looking to work with people from around the world to make great music!
Scarlett 18i6 Interface
£30 pair of headphones
Pro Tools
Fab Filter Pro-MB, Steven Slate Drums, Steven Slate Trigger, Blue Cats Audio Analyser, TDL Kotelnikov.
Scarlett 18i6 Interface
£30 pair of headphones
Pro Tools
Fab Filter Pro-MB, Steven Slate Drums, Steven Slate Trigger, Blue Cats Audio Analyser, TDL Kotelnikov.