So I can have a quick listen to the overheads and listen to what's coming out the overall the kit. As you can hear this is the stage right overheads which I've got coming out the left hand side at the moment. like Justin said, my colleague, I don't like panning left and right too much because most of the audience can be stopped. Some people can stay on the left hand side, some people who started and if you hard pan, then you're going to miss out on stuff. So you tend to just do slight panning, so I just hand it to one side at like 10 o'clock and the other side's at two o'clock. So just slightly just off the center.

I also don't want all I'm really interested in these overheads is just the sound of the symbols and the top part of the kit. So I'm going to roll off some of the low energy, and I'm going to use the high pass filter. So I'll take you up to the extreme and then bring it back down. I'm probably gonna listen to that sort of nasty what, what what sound so I'm gonna set low mid a boost up the bit frequency that I don't want the most and then cut it a bit and then I'm going to copy that across to the other overhead channel. So I've got some kind of coherence really and then have a quick listen to that channel. It's slightly different sound because we've got the Hi Hat over there.

And I don't really want that kind of, once again, that's the bit I don't want. So I'm gonna boost it up and then cut it down a bit. I still want some of the low end. I'm gonna switch both to base to shelf and then just take a tiny bit of low end off at about 100 hertz. Then I've got a kind of picture of the top part of my kit coming to take that down again. To go back see there's not much hi hat truck on this really.

So I'm just going to a good bit haha just gonna finish out with it once again, high pass filter in and just maybe I just a bit of top ago once guess said it's shelving so I'm going to smoothie add the whole top end rather than just a single frequency and I'm just going to knock that off slightly to one side. So I'm just gonna have a quick listen to the kick snare and the high up before I get too worried about the Tom's talk to the kick drum I'm also going to change the face the kick job server sounds any better. When I change the face of the kick drum, I get a bit less thump. So it's probably out slightly out of phase with the snare drum microphones. So I'm going to keep it in face because that way I'm going to try to get more K and sound across.

But you should always try changing the face and basically see what sounds best to you. There's no kind of hard and fast rules, especially try the different microphones and find out which ones are working well together, and how it work in face. Sometimes I spend a lot I travel with a face adjustment, I've got a radio phaser I use that where I can adjust the phase of a channel and get it exactly in place because often it's not 100 90 degrees out of phase, which is the only option given by a face reverse button sometimes can be 30 or 40% out of phase for the frequencies you want. So I'll sometimes adjust it using a face at all. But we'll get the choice in this test. So I'm just going to listen to the kick, snare hi hat and just listen to phase again, which is crazy.

I don't know I'm kind of in two minds about Well, that sounds better. I think as you sound slightly tighter with it, the kick drum out phase. So I might try it like that for a bit and see how it goes, how it gets on with the rest of the kit. So I'm going to just go through the rest of the drum kit and I'm going to EQ the toms set up the gates on them, check the whole drum kit and then we'll move on to the bass guitar.