From the course: Advanced Drum Recording Session with Josh Freese

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Dialing in the overheads, hi-hats, and cymbals

Dialing in the overheads, hi-hats, and cymbals

From the course: Advanced Drum Recording Session with Josh Freese

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Dialing in the overheads, hi-hats, and cymbals

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- Once I get ballpark kick and snare sounds, I gotta make sure they can relate to each other very well, that they sound like they're being played at the same time. So, when you put the overheads up, it helps to glue them together. So, we have to make sure that the kick and snare are well-represented in the overheads. Not necessarily equal, I'm not worried about that so much. But they have to sound good in the overheads, so that they work well with the corresponding close mics. (drum beats) - Alright. Hang on one second there, boss. So we got, feelin' pretty good about my close kick and snare sounds, not stoked on the overheads, how they're responding with the kickdrum right now, so we're gonna move those C-12s around, And see what we can do. They have to work together, and not have any kind of phase cancellation, or create a boxy sound. So I just raised them like an inch and a half, and we'll see, hopefully that'll help us out. Can I hear the kickdrum, please, Ross? (kickdrum beats)…

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