Since hi-hats occupy a small frequency range, they experience the effects of processing much faster than other drum hits. It’s easy to go overboard with hi-hat processing You will usually end up somewhere around 300 Hz. Move the cutoff upward until you begin to hear the sonic character change, then back off slightly to ensure the signal sounds clean but not thin.
To do this efficiently, organize your hi-hats within a submix and set a high-pass filter to 100 Hz. By rolling off the lows, the natural brightness of the drum kit will come through and you’ll be less inclined to boost needlessly later on. To save your ears and ensure vocals, guitars, and synths shine through, managing the high frequencies produced by hats is vital.īut before shaping the high end, it will serve you well to remove any low frequencies tacked onto hi-hats during the recording process. If there are too many hi-hats, cymbals, and rides clanging around-or if they are not processed properly-the mix can become sharp enough to take an ear off. Tuck things in first by removing low frequencies
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