Guidelines for miking a hi-hat with DPA Microphones.

Directional microphones

To avoid the airflow when the cymbals are closed, try placing a cardioid microphone like the d:dicate™ 4011A, 4011C, 2011A or 2011C slightly above the cymbals (10 to 15 cm) pointing at the middle. Since the signal primarily consists of high frequencies, a low frequency roll-off could be applied in the mixing console to keep the overall sound bright and crisp.

Omni microphones

Omnis like the d:dicate™ 4006A, 4006C, 2006A or 2006C are also very good for this application with their incredible transient correctness, but they need to be placed a bit closer.

In certain music types such as jazz, blues, or folk, the snare and hi-hat can be picked up by one strategically placed omni mic. The placement will be between the hat and snare and you will have to find a placement balance point based on each drummer's technique. An omni such as the 4007 or 4006A does this nicely and yields very good "air", but with a little more effort the 4011A, 4011C, 2011A or 2011C cardioids can also do the job and produce an even tighter result.

Sound pressure levels

The drumkit can produce very high peak sound levels. Levels in excess of 120 dB at a distance of 1 meter and at a few cm from a drum or cymbal head 140 dB or more is not unusual. It's obvious that the microphones must be able to handle these levels without clipping, which is not always the case in many recording situations.