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[jfrigo]

bblackwood wrote on Thu, 06 January 2005 11:36

I'd be stunned if the hat was either center or hard panned...

I can't imagine it would be either of those things.

I can imagine it being fairly close to the center or fairly wide out, as opposed to exactly half way between, but I don't think I've ever heard one hard panned, and I've only heard it up the center when it's a minimalist mono drum mic technique or a sample loop. But unless it's exactly in between center and wide, it's going to be more M or more S, and perhaps that offers an opportunity, just as it being more L or R may.

[bobkatz]

ammitsboel wrote on Wed, 05 January 2005 19:36

Bob, have you tried the dynamic EQ? I find it too limited so i havent used it very much, but it can process only one of the channels.

I sent it back with a ton of suggestions. Daniel has been very busy and when (if) he gets back to those suggestions the dynamic EQ will be a helluva box, very useful, I'm sure. But right now the attack/release constants are not adjustable and so it just is not useable for me.

BK

[turtletone]

I have a set of the DYN chips and just recently popped them back into the eq, I would like to see it improved on, but I found it kind of useful if used lightly. Like Bob said, if he just allowed tweeking of the attack and release, this box would be super powerful. but in the meantime, it can add a little something as it is.

[Ronny]

I get the white page on both of these urls. No matter if I right click and save as target or left click for the stream.

Can you check these two.


http://www.newblack.net/mp3/splints/12MolotovTonight.mp3

http://www.newblack.net/mp3/splints/14BloodLetting.mp3

[Bob Olhsson]

And to think I can remember when in the 1970s everybody wanted MORE high hat!

[ted nightshade]

Bob Olhsson wrote on Sat, 08 January 2005 09:31

And to think I can remember when in the 1970s everybody wanted MORE high hat!

What's changed, do you think? Is it just that everybody has to hear their work, at one time or another, through tinny little speakers that try to make the hi-hat the loudest thing in the mix if it's present at all?

Or does it have more to do with the role of the hat in the music?

Maybe, so the hat would come across well on vinyl?

[TotalSonic]

ted nightshade wrote on Mon, 10 January 2005 16:43

Or does it have more to do with the role of the hat in the music?

I definitely think it was the fact that the hats were the motor to the disco groove.  Weird in the later 80's that it kind of reversed to just kick/snare ultra simplified boom-tink back beats, with little hat in the mix.

Quote:

Maybe, so the hat would come across well on vinyl?

I don't think so - really loud hi-hat in the mix can often make it more difficult to cut a side.   When you push levels to max for a vinyl side the 8-16kHz region where a lot of the hi-hats sound resides is the first to break up, especially as you get to the inner grooves, so you either have to back off level or use some form of high frequency filtering or limiting.

Best regards,
Steve Berson

[Gold]

Quote:

I don't think so - really loud hi-hat in the mix can often make it more difficult to cut a side.

I think this may have more to do with it. Forbidden fruit. Transient response used to be a big one too. Now that we have perfect transient response with lightning fast op amps and digital storage everyone is buying tubes and transformers to tame it. Maybe ear spliting high end will fade from fashion too. One can dream.

[Lord Alvin]

Sounds like a job for Cedar's Retouch software.  I recently did a project where the piano pedal noise was too loud.  The thump of the release and the whoosh of the felts were both distracting.  The mix was finished and I thought it was hopeless.  Retouch was able to get just the pedal thump and turn it down without losing any other low end.  We were even able to turn down the felt noise within the mix and I could not hear any noticeable artifacts.  I bet it would work on hi hat as well.