Hat question

You could clone it and then pan hard left and right.
 
HTH

Check out Channel Tools as well. It takes a bit of learnin' but it's a pretty epic thingiemabob.
 
This is somewhat of a Technique forum question but it could be interesting seeing some Sonar forum solutions using the included Sonar tools.

Paul: Cloning and panning hard L and R would result in a mono sound. There has to be something different about L and R before you get the spaciousness.
 
Wookie: That's Blue Tools, right?
 
Bristol: It would be a mono source and stereo-izing it would help but I'm leaning towards a delay or a second, similar hat, like double tracking guitars.
 
Beep: I've tried Channel Tools and I never could understand it. I've been embarrassed to admit it for 10 years because I thought I might be the only one on earth who didn't get it but to hell with it, here goes - I want the entire world to know that I don't understand channel tools or sidechaining - and I'm not ashamed :)

I would try a delay set somewhere around 30ms, panned accordingly.
 
Rocky

Channel Tools has a built in pure delay you can nudge up in increments for one side. Works very well for "Haas Effect" stuff without cloning.
 
However this can indeed be acheived manually by cloning the track and simply nudging the hi-hat clip in millisecond increments until you get the desired effect. You would of course pan the clones opposite of each other to get the proper effect (usually hard left/right but playing with pan position of both sometimes reveals more desirable sounds).
 
That is ONE of the things Channel Tools can do on it's own though but I agree... it's a strange tool to get used to and it requires an intimate knowledge of stereo field wackiness which, although I know a bit more about now, still hurts my little pea brain.
 
Channel Tools also offer that Mid Gain parameter too which relies on the Mid/Side principle (so turning it up turns up the middle of stereo track which has some crazy effect).
 
The Sonitus Delay used properly can do the pure delay Haas stuff too but I think it's actually harder to set up than Channel Tools because it is SO in depth/complex (and very cool because of that). I need to work with it more but really CT's delay thingie is soooo much easier to just tweak and forget.
 
I also "learned" something recently that pure delays of under 30ms (I think it is 30ms IIRC) is imperceptible to the human ear (our brains cannot process that fast of a delay). What those settings do is add "width" to the sound which is likely what you want for this application. Anything above 30ms (again I THINK that is the correct number... just going by my foggy memory) it starts becoming a distinct second sound/transient/whatever. As in it starts turning into the doubled effect of "tock. tock" or increasing it  more "tock.... tock" and so on.
 
So width delay stuff needs to be kept at low delay times.
 
Really all this crap depends on a good understanding of the stereo field which is a rather mind bending subject. Worth looking into though.
 
You could also just screw around with various things like chorus, flange and phasers which when set lightly can add width as well. To me it sounds like a good excuse to play with/learn about such things.
 
Cheers.

If it was me, I'd put a mic above and a mic below the hats and pan them left/right.  There are many technical tricks that can be used, as discussed earlier in this thread, but nothing beats actually having two separate sources.  You could still play with some of the other techniques discussed.

revnice1
I'm finding the Sonitis Delay to be quite effective, then a stereo reverb but only a tad.

Nothing wrong with both. I would set up a delay bus and a reverb bus with sends to both from the hat track and play around with panning etc. You might even want to send the delay bus to the reverb bus to put it in the same space.
 
Rocky

gswitz
How about Craig Anderton's old trick of stereo Mirrored EQ settings so the left channel looks one way and the right channel looks the exact opposite?

Yeah, that's a neat trick. I've been meaning to try it. I think I've got the exact settings for it typed up somewhere. He uses the VC-64 and it's on guitar though but I don't see why it wouldn't work on other stuff using cloned tracks and any decent parametric EQ.
 
revnice... if you are using a drum synth anyway you could probably set up the synth to output a wide stereo hi hat anyway. Like using the aux outs and/or maybe perc slots (to slide in another instance of the hats).

Since I have learned to play nice with MIDI, I find that technique real effective with my pianos, using two slightly different piano voices hard panned left and right without any delay or verb, the subtle difference in the tonal structure gives a wonderful wide fat effect. I can see the same thing happening with the different hats as well.