Overheads and compression... whats your take?

[Brett Siler]

For music with aggressive playing in it, I generally like compression on the overheads. Usually not smashed, just a few dBs. I like room mics better for smashing with compression.

[cgarges]

For years, I almost never tracked with compression on overheads and I rarely compressed the overheads in mixing. These days, since I have a bunch more appropriate compressors at my disposal and since my tastes have changed a bit, I'm more likely to compress overheads in tracking, but I certainly don't do it all the time. I still rarely do it in the mix.

Chris Garges
Charlotte, NC

[Recycled_Brains]

I like to use a bit of light compression with a fast attack to snag the occassional wiley snare or ride cymbal transient, to keep things blended with the close snare mic a little better.

I don't recall really slamming the OHs ever though.

I generally like to let the compression on the drum submix to do the heavy lifting more than compressing each element to hell and back. Not always, but more often than not.

[kingtoad]

I generally like to let the compression on the drum submix to do the heavy lifting more than compressing each element to hell and back. Not always, but more often than not.

This is the way I am as well. Just seems to usually sound better that way.

[Brett Siler]

I like to use a bit of light compression with a fast attack to snag the occassional wiley snare or ride cymbal transient, to keep things blended with the close snare mic a little better.

I don't recall really slamming the OHs ever though.

I generally like to let the compression on the drum submix to do the heavy lifting more than compressing each element to hell and back. Not always, but more often than not.

My approach as well.

[fossiltooth]

Overhead compression can be cool for getting some extra sustain out of cymbal decay, to get some more stick attack out of a ride cymbal, or for getting unusual pumping effects ala The Beatles "She Said, She Said".

No compression can be really nice too. Dark Side Of The Moon is a classic example of minimally compressed drums. On rock-type-stuff I tend to start by just compressing overheads in parallel and then adding direct overhead compression only if I'm missing a certain something I can only get that way. It really depends though. Try a bunch of things. Something's bound to work. If nothing does - maybe the part sucks?

[Brian]

I do very little on the way in, almost an unhearable amount, and then maybe more in the mix, maybe in the drum bus, maybe not, it depends on if it's appropriate.

[drumsound]

I always mix with a drum group parallel, so there's compression involving the OH, but I've never had a whole lot of experience compressing the OH channels. I'm noot sure if I have the right compressors, or I haven;t done it enough...

[Brian]

I always mix with a drum group parallel, so there's compression involving the OH, but I've never had a whole lot of experience compressing the OH channels. I'm noot sure if I have the right compressors, or I haven;t done it enough...

It isn't you.
No EQ:
I've compressed some LDC's through a DBX386 = the sound of ass.
I've used some solid state LDC's without compression = maybe, maybe not, but, not great,Comp made it worse.
I've used some small toob hybrid ss/toob mics no comp = eh, passable, nothing special, kinda hashy, comp made it worse.
I used a 2500 modded supply, modded head amp, (just to get better response and lowered noise) = not bad, usable without comp, light over-easy comp made it even better, too much is too much, but, you need a comp with extended frequency to keep it open (whiuch is why I'm using that modded dbx 160x, but, an SSL could do it too), even if you roll off, which you can do well, or you can use it as the main mic for a whole kit. It made the snare meaty, kick was still focused but in perspective, seemed to fit in well with a dense mix and also held it's own in a very sparse mix.
I just used one, to focus the middle of the kit. I put it up same height as the stereo pair, behind the drummer's head and above, aimed at the center, roll off the top just enough to let the stereo pair keep the stereo image intact, bring up the rest of the mics till it's right, till it just barely disappears, then you only hear it when there's a spot opened up in the music and the bus compressor gets it.

[reedblack]

In my earlier days I would compress OHs with my TG1, which gave a great, easy thickness to the sound; but since then I've been realizing how much you lose for it in terms of mangling the transients, and how much richer it sounds when the drum bus compressor is doing the heavy lifting. Now I use my OHs to get the most accurate and pleasing picture of the kit I possibly can, add in the rooms (compressed) to get the groove going, add close mics for detail, and then parallel compress the entire kit (but let the transients live!). Seems to get me the best of both worlds.

[Brett Siler]

Another technique for compressor on overheads. Say the drum is bashing the cymals, setting the compressor with fast attack time and a slow release helps tames the cymbals, when the intial transient of the snare and tome hits can come through.

[Neal]

My rule of thumb is, if the drums are not pumping as much as the drums on "Go All The Way" by the Raspberries, then I am not doing it right.

Holy shit.

Multiband compression can be very handy and less obvious. I usually leave the OH alone if there's lots of close mics. Maybe some limiting. If you're doing 4 tracks or less for the whole kit it might be necessary, or if you want it as an effect.

[telepathy]

My rule of thumb is, if the drums are not pumping as much as the drums on "Go All The Way" by the Raspberries, then I am not doing it right.

this is the greatest thing I've ever read on the internet.

[Snarl 12/8]

Listening to that Raspberries thing made me feel better about some of the drum sounds I've gotten over the years. I guess it shouldn't though. Two wrongs don't make a right.

[mscottweber]

Listening to that Raspberries thing made me feel better about some of the drum sounds I've gotten over the years. I guess it shouldn't though. Two wrongs don't make a right

Ha ha, I know what you mean. So many times I've finished a project and thought "Man, this just doesn't sound that great..." and then I'll turn on the radio/ipod/etc and hear something worse and feel better about myself.

But THEN I feel even worse for not having higher standards. I suppose thats how life is though. As long as you are a little bit better than the last guy, who cares, right?