Are overhead mics just too subjective?

I have used almost everything as overheads, my favorite at the moment is something that never gets mentioned as an overhead, a MXL V67Q stereo mic. This actually sounds really good and very easy to set up with no Phase problems that a spaced pair can give. However as I said I have used almost anything and this setup can change again depending on the kit and the type of music.

V67Q Link But I think it has been discontinued. But look at this price

Alan
 
I have used almost everything as overheads, my favorite at the moment is something that never gets mentioned as an overhead, a MXL V67Q stereo mic. This actually sounds really good and very easy to set up with no Phase problems that a spaced pair can give.

Besides the SM81s I use, I've also had good results on occasion using my AT822 over the kit in live situations. I was recording a band and the house didn't bother with overheads so I stuck the AT822 up there and it worked great.
 
I’m having a hard time finding “go-to”, or “industry favorite ” overhead mics. I’m trying to upgrade my band’s drum mics and I think I need some assistance picking overheads.

I have a grown-up blues-rock band. Our recording space is small, not too bright, minimally acoustically treated, with annoyingly pitched ceilings.
I'm recording to Sonar X2 through a Tascam 1641. I use a Studio Projects B1 for vocals. The guitar gets a sennheiser 906 (and the B1 usually). Bass is going DI (and I'm playing with the B1 here too).

We've been using entry level CAD mics on the drums, and I hate them. The kick has no balls and the overheads are too dull.
I think I've talked myself into the Audix D6 for the kick.
I have no idea what to do for overheads. I can spend up to $250/mic but I'd rather spend less. I do have a random Sure KSM 109 that I've never found a use for, I'd get a 2nd one for overheads but they only exist used, and I want new.
I'm worried that condensers will be way too hot, but I'm worried that dynamics will be too boring. A pitched ceiling makes placement challenging.
Thoughts?
Thanks!
-j

I would say, if you want to a good inexpensive set up would be a pair of Audio-Technica AT2035 and a few two packs of Behringer C-2 for toms and snare, the Audix D6 is an ok kick mic, but I like the Telefunken M82 and Sennheiser e602.
 
Hope I dont go way too much off point here, don't mean to force ny highly subjective opinions on you.

But I've concluded so far that overheads is a bit overrated if you don't have a great room and a drummer who can really control the volume of the cymbals. Almost every amateur or semipro recording I ever heard with the drum sound dominated by OH's has been a cymbal heavy harsh mess with no guts. Close micing everything with decent dynamics and a condenser on the hat works for me. 57's can sound more than decent on toms with the right placement. Of course MD421 is usually nicer but also way more money and harder to place. For now I have to do with a borrowed one on the floor toms but it kicks ass for that and as a bonus the bleed from the ride is delicious.

What works for me most of the time is using an Octava MK-319 with the main purpose of catching the cymbals and partially hihat. It also has a pad which comes in handy. Unlike many other affordable condenser mics its not that hyped in the treble and sounds smooth with cymbals. When overloading slightly it sounds nice for certain styles of music. Mono large diagram condenser worked well for Charlie Watts on the Mick Taylor era albums. U47 or U67 but less can do if you close mic wisely and tune the drums. Personally I just make the stereo imagine with heavy panning on the spot mics and embrace some level of bleed except on the snare.

Ribbon overhead can also be sexy. Mine died on me lately. They can be fragile and moody.

Just bought an old Sennheider MKH 406 small diagram for a price around what you'd be willing to pay and its very good and is very neutral in the highs and mids, takes EQ really well. If I had two I'd definitely experiment with it as overheads. Has a roll of in the low end though so you'd definitely need a good kick drum mic. I like AKG D112. Nothing spectacular but easy to place and rarely sounds bad.
Beyer M201 is pretty good on snare, Neumann KMS105 even better but that might be too pricey for you now.

You mention you play blues. What kind of sound are you going for?
Its probably worth mentioning that I almost exclusively record to tape and that is a bit more forgiving partially because of the subtle extra low at 15 IPS and partially because recording stuff like OHs hot makes it easier to control the dynamics of a drummer that gets a little too entusiastic about hitting the cymbals. Also makes the transients a fair deal easier to control which IMO is invaluable when dealing with anything somehow related to rock 'n' roll.
If you want a more or less classic blues sound getting a 16 track tape recorder will make your life easier and with some patient research on HR not nearly as expensive or maintenance heavy as some people crack it up to be.

There are truly industry standard OHs but those are too pricey for a scruffy slacker like me. AKG 414 and Neumann KM184 have been using on thousands on recordings you're probably listening to them now :-)
Using Neumann U47, U67 and U87 is not that uncommon either.
I'd get some if someone wanted to buy a kidney of mine.
 
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