15-05-2023, 03:16 PM
Yes what you say regarding the role of the OH's is correct. They present an overview of the drum kit.
Moving the transients relative to each other (such as direct snare mic and overheads) is basically manipulating the spacial sense of the drums.
If we have two OH mics, we can manipulate the perceived width of the kit. Imagine a drum kit with a cymbal on the left, and another cymbal on the right. In mixing if we pan the OH mics out wide, the perception is those two cymbals are further away from each other (more stereo spread). If we pan the mics more towards the centre, it makes the kit seem closer together (more mono).
Similarly, in the DAW if we line up the direct snare mic to the overheads, it will give the impression that the OH mics are really close to the snare. If we slide the OH's signal to the right it will give the impression that the OH mics are further away from the snare.
Think of a slap back delay on a vocal. If the delay is short it gives the impression of perhaps a small bright space, and if the delay is longer we get the impression the vocal is in a bigger space. (This is kind of how some types of reverb units work. Of course they use more delays and more sophisticated processing).
Depending on taste - we might sometimes feel a short delay is better than a longer one for example. Same with the drums - we have the option of changing things to our taste if required and one of the ways we can play around with things is by adjusting the phase (timing).
That's the basics of how I think of things.
Cheers!
Moving the transients relative to each other (such as direct snare mic and overheads) is basically manipulating the spacial sense of the drums.
If we have two OH mics, we can manipulate the perceived width of the kit. Imagine a drum kit with a cymbal on the left, and another cymbal on the right. In mixing if we pan the OH mics out wide, the perception is those two cymbals are further away from each other (more stereo spread). If we pan the mics more towards the centre, it makes the kit seem closer together (more mono).
Similarly, in the DAW if we line up the direct snare mic to the overheads, it will give the impression that the OH mics are really close to the snare. If we slide the OH's signal to the right it will give the impression that the OH mics are further away from the snare.
Think of a slap back delay on a vocal. If the delay is short it gives the impression of perhaps a small bright space, and if the delay is longer we get the impression the vocal is in a bigger space. (This is kind of how some types of reverb units work. Of course they use more delays and more sophisticated processing).
Depending on taste - we might sometimes feel a short delay is better than a longer one for example. Same with the drums - we have the option of changing things to our taste if required and one of the ways we can play around with things is by adjusting the phase (timing).
That's the basics of how I think of things.
Cheers!
Just uploaded a mix/master? Waiting for comments? Why not give back and critique a mix/master, or two!