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I've been "blessed" with the opportunity to record quite a few bad drummers. My absolute worst complaint is that they bash the hell out of the hi-hat and it bleeds profusely into the snare mic. Most of these drummers also have issues with hitting the snare solidly and consistently. So when I try to bring out the snare, I make the hi-hat worse. I don't encounter this problem with good drummers, but the bad ones make me want to shoot someone .

Does anyone have any suggestions for snare miking techniques, drum setup changes, hi-hat cymbals, or drummer coaching? I need some ideas to experiment with.

De-Esser.

I usually do what steve suggests, but I have to say....

I like your idea about shooting someone. That could work too.

If you don't wear ear protection, then the ringing in your ears should mask it.

steve wrote:De-Esser.

De-esser is good for some cases. But I've ran into a couple bands that it's just not enough. The hi-hat bleed to pussy snare hit factor is entirely too high and is fucking up the whole recording. It's especially bad in these double-time hard-core bands that have a drummer that just can't hack that drum beat.

Should I just chalk it up to the fact that the drummer is that bad and live with it?

cjc166 wrote:

steve wrote:De-Esser.

De-esser is good for some cases. But I've ran into a couple bands that it's just not enough. The hi-hat bleed to pussy snare hit factor is entirely too high and is fucking up the whole recording. It's especially bad in these double-time hard-core bands that have a drummer that just can't hack that drum beat.

Should I just chalk it up to the fact that the drummer is that bad and live with it?

It's good to have a pair of pretty dark hats around (an old set of new beats or some dark Ks) for this instance.

There is only so much that can be done before it's a matter of you telling the drummer than this is the way he sounds.

Jeremy

Jeremy wrote:
There is only so much that can be done before it's a matter of you telling the drummer than this is the way he sounds.

This is also true.

Blast beats... so not blasty.

I asked a similar question a while ago, and people suggested putting stuff in the hi-hat. I use a big (clean!) sock. It works well.

i had this problem with a young drummer last year sometime, i recorded in a large warehouse with ultra high ceilings. with minimal to no output gear, my solution was to cut a lot of the highs from the snare which masked the hideous HH bleed. obviously this became detrimental to the snare sound, so i compensated by adding a shit load of room // ambient mics. not a perfect solution cos now when i hear the recording the snare is too dull and boxy. oh well.....

Try moving the Hi Hats away from the Snare a bit, physically. Then try putting the snare mic closer to the snare pointing away from the Hi Hats. Use something with good back rejection, make sure and mic the bottom too for some snap.
Don't eq too much top end on your snare top mic.

But keeping a good pair or light hats around will help too, and try getting the drummer to play with his hats more closed.

If you're going to put stuff in the hi hat, put some keys or change or a beaded chain or some nuts and bolts or gravel -- something that will jump around and dampen the cymbal without muffling it.