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Hihat Question

Thanks in advance for your opinion-

My system is:

Anthem Integrated 225

Musical Fidelity Cd as Transport

Schiit Modi Multibit

Technics Sl 1200 mk2

Usher Cp6311

Morrow Cables

I like the system overall, plenty of bass, voices sound realistic, highs are not strident, etc.

As a drummer, I love to hear hihats, cymbals, etc. On some systems in the past I’ve heard more of this than through my setup. Most of these setups have been in the past on equipment I perceive is a lower grade than mine.

My question is: 

Should I be hearing most every hihat strike, close? Is hearing these sounds consistently the sound of a revealing system or a ‘tipped up’ presentation that I would likely tire of?

Live music varies to me in this respect, and the music on my my system varies as well. Unfortunately, I’m not able to demo where I live, so I’m interested in your opinion. Fwiw- I hear all a lot more treble in my automobile, but could be due to the euphoric goal of the manufacturer. I’m in my late 50’s, so that may play a part-

On many jazz albums, it’s all there, others not so much.

Sorry for the one post.

Thanks
uncledemp
uncledemp OP
778 posts
 
Thanks for all the great feedback.

I have more than enough bass as is, so I’ll see if some changes in positioning will help me with the highs. 

If if I can gain a little more in the treble region I’ll be happy. Overall, I enjoy my system, so hopefully some adjustments will get me there. 

I appreciate your comments and opinions. Have a great weekend.

gary
rbstehno
1,428 posts
 
As a drummer, for over 45 years when demoing audio systems I always have listened how the cymbals sound. I used to own the usher cp6381’s which were very good especially for the money. If you want to hear a true cymbal sound, go listen to the usher diamond DMD tweeters in their top of the line speakers. I went from the 6381’s to the Mini Dancer ii’s Then to the X-Towers. I have driven them with tubes and solid state, it doesn’t matter. You will see a big improvement in sound going to an usher speaker with the DMD tweeters
erik_squires
16,041 posts
 
I can hear it ‘all’ when I am close to the speaker. My room may very well be the issue. It’s a very open floor plan. Kitchen, foyer, and dining room adjoin my listening area.

I strongly recommend you talk to GIK if you can improve the room acoustics.

If you cannot, then you need to find speakers with more controlled dispersion. Horns, ESLs, line arrays and wide baffle speakers may work much better for you given your room characteristics.

Best,
E

bdp24's avatar
bdp24
9,788 posts
 

@uncledemp, is it what's on the recording you want to hear, or is it "hearing every hihat stroke, close", even if that is not what is contained in the recording? Hihat cymbals are recorded in a few different ways, or even not at all. John Bonham's drums and cymbals were recorded with no close mics; do you want his cymbals to sound "close"? Boost the highs.

I've had hihats recorded mostly via close-micing with a small diaphram condenser mic; sometimes the same mic as the two overheads, sometimes different. And with no mic at all, the bleed from the snare mic capturing enough of the hihat sound.

And then there is the mix. Different engineers and producers prefer different drumset/cymbal/hihat balances, so why would you expect all recordings to have the same hihat sound on your hi-fi? They not only don't, they shouldn't. If they do, something is very wrong.

Search out recordings known for their lifelike drum sound. I recommend any of the early Sheffield Labs direct-to-disc LP's. Jim Keltner and Ron Tutt have great sounding A. Zildjian cymbals, and a speaker with good high end will make them sound as they do in person. Go to a drum shop and listen to some, to get a reference.

michaelgreenaudio's avatar
michaelgreenaudio
1,019 posts
 

Hi Uncledemp

The answer is Tunable Speakers, Tunable Room and Tunable System.

http://tuneland.forumotion.com/

http://www.michaelgreenaudio.net/

What I do is tune my systems (per recording if wanted) to bring out any particulars on the recording.

Michael Green

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