I am trying to find a way to mic my hi hat without getting so much bleed from the snare. I have tried a condenser pencil mic pointing straight down with a cardioid pattern that did not work.  I tried the same pencil mic pointed away from the snare that did not work, I tried an Audix I5 that did not work. Is it better to use the overheads to pick up the hi hat?  I tried to line up the snare hit in the hi hat track with audio snap threshold a 0 pool transient window at 150 and with those settings it won't give me a transient to line up but you can see the wave.  This is causing a problem when I am trying to tighten up my tempo for the drums and cause them to lock. Thanks in advance for your help

Here's a good picture:
http://gekkoprojekt.files.wordpress.com/2013/01/hat.jpg
 
And here's a discussion:
http://www.sweetwater.com/forums/archive/index.php/t-484.html
 
 

...at 2100 productions and counting ( all involving miking a live kit ) I still get all the Hi Hat from the overheads I could ever use. On rare occasions, when miking a jazz kit, I have used an SM81 or a 184 but that's rare and its a mid side setup doing the bulk of the work.

I agree with Konrad... point the mic from the drummer's side as much as possible towards the high hat.
 
I usually use the overheads with high pass EQ as Featherlight says, but sometimes the drummer has a vocal mic. In these cases, when he isn't singing, I try to use the mic for high hat.

If you've got the overheads well-positioned, you really don't need to close mic the hi-hat.
The overheads should pickup plenty of articulation.
 
Cymbals sound best when mic'd from a distance.
ie:  Put your ear close to a cymbal when it's struck... vs listening 1.5 to 2 feet away.
- Close, it sounds chunky and you hear nasty "gong like" tone/overtones.
- From a distance, you hear the beautiful shimmering sound without the nasty overtones.
 
 
 

Jim Roseberry
If you've got the overheads well-positioned, you really don't need to close mic the hi-hat.
The overheads should pickup plenty of articulation.
 
Cymbals sound best when mic'd from a distance.
ie:  Put your ear close to a cymbal when it's struck... vs listening 1.5 to 2 feet away.
- Close, it sounds chunky and you hear nasty "gong like" tone/overtones.
- From a distance, you hear the beautiful shimmering sound without the nasty overtones.
 
 
 

You hit the nail on the head for me because I had it close I was wondering why I got the Gong and my cymbals just sounded bad I was going to look at replacing them

Featherlight
...at 2100 productions and counting ( all involving miking a live kit ) I still get all the Hi Hat from the overheads I could ever use. On rare occasions, when miking a jazz kit, I have used an SM81 or a 184 but that's rare and its a mid side setup doing the bulk of the work.

I am going to give that a shot as well to see how that turns out

konradh
Here's a good picture:
http://gekkoprojekt.files.wordpress.com/2013/01/hat.jpg
 
And here's a discussion:
http://www.sweetwater.com/forums/archive/index.php/t-484.html
 
 

Thanks this does make a lot of sense now that i see it

This is interesting http://gekkoprojekt.files.wordpress.com/2013/01/snare.jpg?w=640 has anyone tried this
 

I typically use a great little AT3030 mic (discontinued, however, but you can find a similar mic), positioned on the side of the hat away from the drummer and snare, facing almost straight down on the top of the hat (about 3-6 inches from the raised hi-hat level), about 1" from the edge. The hi-hat itself blocks out the snare, and by facing the mic downward, it reduces bleed from other cymbals. There is nothing else I find this mic needs to pick up.
 
I may adjust the angle of the mic to pick up a little more of the bell of the hi-hat, but I usually won't move the mic.
 
So, in essence, I will try to "hide" the diaphragm of the small condenser hi-hat mic from the rest of the kit where possible. In most cases, unless you're really adamant about picking up very subtle stick hits, this is my recommendation.
 
George Massenberg discovered a unique way of dealing with this as well, by placing a ribbon mic between the snare and the hi-hat. Through the front of the mic, he picks up the side of the snare, while the back of the mic, usually the brighter side, picks up the snare. The hi-hat side will cancel out the snare side. I haven't tried this yet, but the video is here.
 
http://www.youtube.com/watch?v=OZOVZQgXl9k