Baseline Series: Mixing Cymbals To Create Powerful Drum Tones

Introduction

The Cymbals

There are many directions you can go in the topic of cymbals and you can go down a rabbit hole very quickly. For simplicity, I am going to talk about cymbals and hi-hats you will typically see in a church band or bands that have a more simple setup for drums. In general, cymbals or the thin circular objects above and around the drum kit that makes a “splash” sound. Also, anytime I mention “Cymbals”, I am including the Hi-Hats unless I specify otherwise.

Cymbals can range from 6 inches all the way to 26 inches. They can be bright or dark and anywhere in between. Some even have holes. The variations can make mixing cymbals a tough task.

The Role of Cymbals

Aside from the Snare Drum, cymbals are probably the hardest aspects of the drum kit to control. This is why you see drum shields, or even isolated drum booths to help with controlling the effects of the cymbals.Despite the troubles, we need to learn how mixing cymbals effectively will enhance the overall drum kit to have a powerful impact in the mix. The higher frequencies is where you get excitement in a song and these frequencies are where the cymbals live. The EQ moves you make in these frequencies will either make or break the overall tone of your drum kit.

It took awhile for me to get the hang of mixing cymbals, but once I figured it out, the cymbals really do enhance the tone of the drum kit. I normally use the Overhead channels as my cymbals. I am not worried about getting the whole kit. This helps with potential phasing issues. You may get some issues with the upper frequencies but they should be very minimal.

Let’s dive into the baseline settings for Mixing Cymbals. Keep in mind that these settings can be used for any console and any DAW whether you are using stock or third party equipment and plugins.

Mixing Cymbals: Noise Gate

The first plugin used in Mixing Cymbals, after Gain, is the Noise Gate. I generally do not gate the cymbals. Since the cymbals microphones captures the whole drum kit, using a noise gate is not worth the time and energy. However, here are some pros and cons to using a noise gate on cymbals.

• Pros:
  • Creates a dry drum tone where the cymbals only turn on when the cymbals are hit.
  • Limits the amount of snare bleed into the hi hat mic.
  • Can create more excitement from the crash hits.
• Cons:
  • It is difficult to find the right threshold where the cymbals only open when they are hit.
  • The higher frequencies are similar for the snare and cymbals, which and can trigger the gate to open unexpectedly.
  • If the kit is behind a drum shield or booth, then a gate is virtually pointless.

I do not use a noise gate on cymbals and I don’t feel you need to add it either.

Mixing Cymbals: EQ

Next in the Mixing Cymbals is EQ. When EQing the cymbals, the goal is to add excitement to the mix and remove the harshness. Depending on the console or DAW you are using, you will typically have at least four EQ frequencies to work with whereas some may offer up to six. There are many methods to EQ cymbals as well. Do you capture the whole kit or just the cymbals? should you EQ different cymbals differently?

I want to make sure this is applicable in any situation. So I will outline four key frequencies that most significantly affect the Mixing Cymbals, along with two additional bonus frequencies. If you have a preset with the EQ set to these frequencies, all you’ll need to do is make the necessary boosts or cuts—no need to search for the right frequencies. Don’t be afraid to boost or cut by as much as 15 dB if it’s required.

Although you can use multiple EQ plugins in a DAW, this approach is not efficient and can be difficult to replicate on budget-friendly consoles. It is best to minimize processing on your computer when handling a broadcast mix. These settings are inspired by a vintage analog console

High & Low Pass for Mixing Cymbals

Most consoles and DAWs will have a High Pass and a Low Pass. Since these generally come by default, I am not including them in my four frequencies.

1. High Pass/Low Cut at 300hz:
   • This will get rid of any low rumble from the Kick Drum. The Snare, typically, does not go lower than this frequency.
2. Low Pass/High Cut at 12.5k: On HiHat
   • This will reduce the amount of higher frequencies of the hihat and clears some space in the overhead channels

4 EQ Frequencies for Mixing Cymbals

1. EQ #1: 450Hz
   • I am normally cutting hear to clean up the low-mid
2. EQ #2: 1.2k
   • I am cutting hear to get rid of the honky sounds from the kit
3. EQ #3: 6.5k
   • I will either boost or cut hear. This will make or break your cymbals in the mix. Too much will make your cymbals harsh and overpower the mix. However, too little of this frequency will make your cymbals sound dull.
4. EQ #4: 12k (Shelf)
   • I am boosting here to add some air and sizzle to the cymbals

2 Bonus Frequencies

5. EQ #5: 900Hz
   • I will cut here to cleanup the mids
6. EQ #6: 3k
   • I would cut here if the cymbals sound too harsh

Mixing Cymbals: Compression

I would argue that one of the most important aspect of Mixing Cymbals is compression. There are many different methods for compressing Mixing Cymbals. Many of them are, in my opinion, typically conservative. I like to be more aggressive in my approach. Again, the Cymbals provide a lot of excitement to the mix. The song just lacks the energy needed to be impactful.

If you’re not familiar with compressor settings, you’ll generally encounter Threshold, Ratio, Attack, Release, Knee, and Make-Up Gain. Use the following parameters as a baseline for compression to achieve the ideal balance of dynamics and punch. These settings are inspired by a studio 1176 compressor, known for it’s fast attack and punchy sound:

Compressor Settings

• Threshold: -15 dB
• Ratio: 8:1
• Attack: .5 ms or less
• Release: 50 ms
• Knee: Hard
• Gain Reduction: 10 dB on the snare hits

With these settings, you should achieve around 5-10 dB of gain reduction. Make sure to adhere to the gain levels recommended in my Gain Structure Guide. I’d suggest setting the gain level during the loudest sections of the song, such as the chorus or the ending of a song, to get an accurate representation of the volume is going to be.

Notice that I didn’t mention using Make-Up Gain. Many people suggest using it because you’ll be reducing the volume of the instrument and you “should” make up the volume. However, I believe it’s unnecessary and can introduce another volume variable that you might overlook. Trust that there will be sufficient volume if you set the gain correctly. In this case, using Make-Up Gain isn’t required.

Mixing Cymbals: Multi-Channels & Panning

Part of the Mixing Cymbals that is overlooked at times is processing multiple channels. Generally, you will have a Hi-Hat and two Overhead channels (Stereo). You might get some people that want to process the left and right overhead channels separately saying that you get better separation. You can debate that if you would like. However, processing overheads as a stereo pair is much more efficient and there is not much difference in results in a live environment.

I like to have a microphone on the Hi Hat because I want the extra control on the overall sound of the drum kit. If you are low on channel count and you can pickup the hi hat perfectly fine from an overhead mic, then you can get rid of the hi hat. I like being able to pan the hi hat all the way to one side.

Mic Placement and Phasing

Phasing

Mic placement is key to making sure you don’t have any phasing issues with the drum it. If you are not familiar with phase, in short if you kit sounds full and energetic, then most likely your mics are in phase with each other. If they are not in phase, then your kit will sound thin and lifeless.

To check phasing of your overheads, turn your snare, kick and overheads on and balanced volume wise and flip the phase on the kick, then the snare by toggling the phase button. If one setting sounds better than the other, then use that one.

Mic Placement

• Most of the time, you are going to see the overhead mics placed wide above the kit. This placement of the mics do provide more direct sound from the cymbals allow you to focus more of the cymbals in the mix. You will need to make sure that your mics are equally distant from the snare and to each other. This will reduce phasing issues.
• Another option is known as the “XY” Pattern. this is where you will have both overhead mics overlapping each other at the mic capsule. See link here for a picture. This placement of the mics provide coherent stereo imaging with no phasing issues between the mics.

You can watch a quick video demonstration of three different mic placements, including “XY”. 3 Basic Techniques for Overhead Drum Mic Setup

Panning

• Pan the overheads from the audience perspective. You will get the spread of the whole kit and allows the important elements to be heard more clearly.
• Pan the Hi Hat hard to the side it is on. And bring the fader up in the mix just enough to be slightly noticeable in the kit.

Mixing Cymbals: Tone

When trying to get the best tone, the first place everyone goes to is the console or DAW. They insert plugins and start messing and see what sounds good. But the thing that 90% of the people forget to do is check the instrument itself. Mixing Cymbals is only part of the equation. You have to have the right instrument for the job. Bright sounding Sabians will not sound like dark Instanbuls. Know what you are wanting you cymbals to sound like.

Buy good quality cymbals and they will last a long time. Unless you are a very hard hitter then you will probably break any cymbal. Also, don’t go cheap on cymbal stands either. It is no use having cymbals if the stand cannot hold up over time.

Affiliated Products

Hear are my recommended products to get the best tone. All of these are affiliated links and I am only recommended products I have used or interacted with. If you, a friend, or church are looking for high quality products in this area, here you go!

Primary Equipment

• Sabian AAX Cymbal Set
• Sabian 18″ Crash AAX X-Plosion Cymbal
• Sabian 16″ HHX Evolution Crash Cymbal

Other Equipment

• Audix DP7 Drum Mic Kit
• Audix ADX51 Overhead Mic
• Audio-Technica AT4041SP (2 Pack)
• sE7 Overhead Mic (2 Pack)

Conclusion

Mixing cymbals may seem challenging at first, but with the right techniques for EQ, compression, and panning, you can transform them into a powerful element that enhances your entire drum kit. Whether you’re in a live setup or the studio, getting your cymbals dialed in will give your mix that extra punch and clarity. I hope these tips help you take your cymbal mixing to the next level!

If you found this post helpful, be sure to subscribe for more in-depth mixing tutorials and expert advice in the Baseline Series. Got any questions or tips of your own? Drop a comment below—I’d love to hear your thoughts and keep the conversation going. Let’s keep making better mixes together!

Resources

• The Best Audio Mixing Template: Introduction To Baseline Series
• Gain Structure Guide
• 6 Steps for Gain Staging for the Best Results

References

• 3 Basic Techniques for Overhead Drum Mic Setup
• Picture of “XY” Pattern