How I Mix Music_Part #10 Mixing in Overheads

They are not shinny balls called ornaments. They are your drum overhead tracks. If you’re lucky enough to be mixing drums that were recorded well your overhead tracks will become more than just the high frequency sparkle of cymbals …they will become a magical component in crafting the low frequencies coming from your skinned instruments. Ya do have to be careful not to lose the whole picture by eq ‘ing, either out or in, too much low energy into your cymbal tracks. Try a frequency dependent compressor to help you with your crafting.

Overhead microphones should be the air put into your drum mix. Gently raise them into the mix. Listen to how your drum sounds start to change and open up. Small delicate movements serve you best if you’re not fighting a poor acoustic listening environment.

You should easily hear crossing the line answering the ultimate question of mixing music; is what you’re doing Constructive or Destructive to the show? If you cannot hear that try practicing something else, like saying …may I supersize those fries for you.

Do not over-listen. If you focus on voicing your overheads for maximum cymbal goodness chances are you’ll create an adverse effect on the other instruments sharing air space with your o/h’s (toms, snare, and kick). If you’re painting by numbers try not to listen past the harmonic content of other high frequency instruments and how they respond with your bright and shiny cymbals.

If you have no concern of leakage or the song does not have cymbals but does have overhead drum microphones try gating the o/h tracks and key them off a rhythmic pattern. It will demonstrate my favorite saying for mixing …Talent knows the fine line between Clever and Stupid.

 

Next up_Bass