Using Distortion on Hi-Hats and Cymbals

Using Distortion in a Mix

When mixing drums, you may find that hi-hats or cymbals sound too clean to sit in the mix,
or too thin and get buried.

EQ and compression can help, but for a more active change in tone,
try distortion.

Listen to the examples below, paying attention to the cymbals and hi-hat.

• Without distortion
• With distortion

The distorted example has more cymbal presence.
Let’s look at the settings.

Video: Applying Distortion to Drum Cymbals

Selected Questions and Answers from the YouTube Video

How can I apply distortion only to the hi-hat in a programmed drum part?

One way is to route individual parts of the drum instrument to separate outputs. The link below explains multi-output routing in several DAWs: https://sleepfreaks-dtm.com/dtm_word/parallelout/

How do I choose between this and using a compressor to add distortion?

The main purpose of a compressor is to control dynamics. Distortion is often a secondary effect, whether it comes from the character of a device or from intentionally driving its level. A distortion effect is useful when you decide from the outset that a thin or overly clean sound would benefit from being driven.

Applying Distortion to the Hi-Hat

For this example, we use a drum instrument routed to separate outputs.
Many acoustic drum libraries provide a close-mic channel for the hi-hat.
Start by inserting distortion on that channel.

The insert alone may change the tone slightly; now adjust its parameters.
Listen to the balance of the whole kit and the song as you work.

Start with “Boost,” which controls the strength of the distortion.
We do not want an obviously distorted sound, so increase it only a little.

Increasing Boost also raises the level,
so adjust “Output” to approximately match the original level.
As with effects in general, when comparing the effect,
keeping the level as consistent as possible is important.

Finally, adjust “Tone.”
This controls the high frequencies; lower values make the sound darker.
Again, keep the change subtle.

When the settings are ready, compare them with bypass to hear the effect.
A little distortion should help the hi-hat sit in the mix while giving it more presence.

How Distortion Affects Later Processing

Distortion creates an overload-like effect that can produce the following results:

• As the waveform becomes more square-like, harmonics are added.
• By raising and limiting the signal, it can produce a compression-like effect.

Cymbals already contain many overtones, which this can emphasize.
The compression-like effect can also reduce the level difference between closed and open hi-hats
and bring up the cymbals’ sustained decay.

You can still shape the sound afterward with EQ and compression,
but distortion can be useful as a preparatory treatment for cymbals.

For example, when applying EQ to the hi-hat as shown below,

whether or not distortion is inserted before it can change how the EQ sounds, especially in the high frequencies.

Applying Distortion to Overheads

Many drum libraries capture cymbals other than the hi-hat together through overhead microphones.
Use some care when distorting overheads because they contain sounds besides the cymbals.
Keep these points in mind:

• Use less Boost than on the close mic.
• Keep Tone from being lowered if you want to preserve cymbal highs.

These are general starting points; the right settings depend on the song.

Depending on the source, distortion can also build up the low-mid range,
making the snare in the overheads sound heavy, for example.
If that happens, try gently reducing the low mids with EQ.

Try Different Distortion Effects

Alongside the distortion included with your DAW, there are many other distortion plug-ins.
Each has its own character, so it can be rewarding to find favorites
or choose different ones for different sources.

For example, a plug-in that creates distortion in an EQ’s preamp section
lets you add drive and apply EQ at the same time.

Frequently Asked Questions

Q1. Why add distortion to drum cymbals?

Distortion can add harmonics and emphasize cymbal presence so they stand out in the mix. Its compression-like effect can also reduce the difference in level between closed and open hi-hats for a more cohesive drum sound.

Q2. Should the hi-hat and overheads use different settings?

Usually, yes. You can use more Boost on the hi-hat close mic, while overheads also contain snare and other sounds, so a gentler setting is a useful starting point. Avoid lowering Tone if you want to retain the cymbals’ high end; adjust by ear for the song.

Q3. What should I consider when EQing after distortion?

Distortion can change how the EQ sounds, so compare with bypass while adjusting. If the low mids become too heavy, try reducing them gently with EQ.