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[MagnetoSound]

QUEEF BAG wrote on Sun, 23 January 2011 03:47

you are upsetting jazz drummers world wide

They read this nonsense??  

[Wireline]

MagnetoSound wrote on Sun, 23 January 2011 08:09

QUEEF BAG wrote on Sun, 23 January 2011 03:47 you are upsetting jazz drummers world wide They read this nonsense??

They read?

[cgc]

Was hi-hat micing common before 1980?  That was the year the Linndrum and TR-808 were released and the hi-hat sounds of those drum machines had a big influence on drum sounds.

[compasspnt]

Fletcher wrote on Sun, 23 January 2011 09:06

Fair enough... some times its difficult to tell...

No problem!

In answer to when the hh mic became ubiquitous, I recall in the 60's I would mic it about 50/50. If I did, it would be with either a KM-84, or by late 60's a 451.

As now, depends on the drummer, how loud he hits it, type of sound you're going for, etc.

[bigbone]

ssltech wrote on Fri, 21 January 2011 22:21

... If you care that much about the hi-hat... ... There might be something wrong with the MUSIC.

It's only about 70 % of the groove when it's well play  


JN

[zakco]

Fletcher wrote on Sat, 22 January 2011 22:31

Due resect - but of all people who might have responded to this thread I would have expected you to understand just how important great capture of a great drummers playing of the H/H is to the groove of a song.

All true, and in the rare occasions I work with someone actually in control of this weapon, I will consider putting a mic on it.

Unfortunately for those of us not working predominately with Steve Gadd it's also a crutch and a timekeeper for ham fisted bucket beaters. Often times, my entire approach to recording drums is figuring out how I can keep EVERY mic in the room from being a hat mic...

I'm sure the KM69 rocks the hat on a good player.

[Fletcher]

compasspnt wrote on Sun, 23 January 2011 10:22

In answer to when the hh mic became ubiquitous, I recall in the 60's I would mic it about 50/50. If I did, it would be with either a KM-84, or by late 60's a 451.

I was 99.998475% of the time a KM-84 guy... when I couldn't get a KM-84 that didn't get me harder than Chinese Algebra... the KM-69 came into existence as a substitute weapon... its nice that some people who were made after the original KM-84 was discontinued are catching onto the concept  

zakco wrote on Sun, 23 January 2011 12:30

[Unfortunately for those of us not working predominately with Steve Gadd it's also a crutch and a timekeeper for ham fisted bucket beaters. Often times, my entire approach to recording drums is figuring out how I can keep EVERY mic in the room from being a hat mic...

Yeah I know the bitch of it when every mic in the room turns into some form of H/H mic... and sometimes those drummers will take a bit of advice on how to make it so it ain't... like moving the H/Hs a couple inches higher than they're used to [dude - I gottta move the hats to get my snare mic in the right place!!!] or an inch or three farther away from them... or add a little tape to the spot where they're hitting it [dude - it'll get the attack of the hats to fit in better with the kit - you'll hear it on playback and understand], etc., etc., etc.

Fortunately I haven't been sentenced to working with too many of those guys over the past bunch of years, but yeah - been there, done that, lived to tell the tale [though I'm probably a little grayer and a little balder from the stress they helped produce!!].

When you are do work with an excellent player - who knows how to control all the elements of their instrument - having the right weapons in the arsenal is a beautiful thing... makes your life easier and the product [hopefully] a little stronger.

When you're working with mediocre to sub-mediocre players you do what you can and try your level best... at the end of the day no matter how hard you work it probably won't come out the way YOU would like it to come out... but if the client is happy [while the "personal satisfaction" thing may be low] you've done your job and that's really what its all about.

Best of luck with all you do!!

Peace.

[d gauss]

Fletcher wrote on Sun, 23 January 2011 01:31

it is why Bernard Purdie is a king,

i had the pleasure of playing live with mr. purdie a coupla weeks ago and he was behind the club's crappy house kit making a shitty pair of sabian B8 hats sound like, well mr. bernard purdie!  

more on topic... ac/dc's phil rudd.  all about the hat. i.e. has he EVER even touched the ride cymbal?

[mell]

johnR wrote on Sat, 22 January 2011 13:13

compasspnt wrote on Sat, 22 January 2011 05:14 What is a hi hat mic? It's the one you turn up very loud in the drummer's headphone mix to make him play it more quietly.

i have to try this one, thanks for the tip!!

[rick-slo]

Any changes on the mike (or in the works) since it was released - a little less self noise, a bass roll off switch, etc?

[gwailoh]

d gauss wrote on Sun, 30 January 2011 16:27

Fletcher wrote on Sun, 23 January 2011 01:31  it is why Bernard Purdie is a king, i had the pleasure of playing live with mr. purdie a coupla weeks ago and he was behind the club's crappy house kit making a shitty pair of sabian B8 hats sound like, well mr. bernard purdie!   more on topic... ac/dc's phil rudd.  all about the hat. i.e. has he EVER even touched the ride cymbal?

Charlie Watts.  His hat accents are the core of that sleazy Stones "thing".  Really.