Splice
Glueing hi-hats to the beat with sidechain distortion
Vaughn Oliver explores the use of the Zef Parisoto FLVTTER plugin to apply sidechain distortion to hi-hats, creating a more coherent and glued-together sound. By setting the sidechain input to a low-end signal like a kick or 808, the plugin distorts the high-end elements, such as hi-hats, based on the low-end input. This technique not only adds a unique character but also subtly dips the volume, enhancing the cohesion between the elements. Oliver highlights the versatility of the FLVTTER plugin, noting its ability to emulate the sound of slamming elements into a master clipper, akin to techniques used in FL.
Mix with the Masters
Crispier electronic hi-hats with EQ
Leslie Brathwaite enhances the crispness and presence of electronic hi-hats in a hip-hop mix using the Waves Q10 and UAD Precision EQ. He starts by rolling off the low end with the Q10 EQ to focus on the hi-hat's higher frequencies, ensuring a clean and clear sound. To add extra sparkle, Brathwaite boosts the 27kHz frequency by about 4dB using the UAD Precision EQ, giving the hi-hats a subtle yet noticeable crispness that helps them stand out in the mix.
SonicScoop
Tuck in a hihat with sidechain compression
Mick Guzauski demonstrates how to use sidechain compression with the Avid BF-76 to make a hi-hat sit well in a busy mix. By routing the bass drum sample into the sidechain input of the hi-hat's compressor, he creates more movement and ensures the hi-hat tucks in nicely with the rest of the elements. This method also adds rhythmic interest without overpowering other instruments.
Mix with the Masters
Create separation between snare and hi-hat with EQ
Jaycen Joshua recommends attenuating the 6-8 kHz range with an EQ on the snare to reduce masking with the hi-hat. This approach distinctly separates the snare from the hi-hat, a crucial element in modern pop and electronic music, ensuring its prominent presence in the mix.