Overhead

[El Barto]

Alright thanks for the reply...I know you stand by the MC012, Rec Eng, and I plan on using one of those for the entire overhead, and hopefully I'll get a great sound out of that. I'm still undecided about the kick drum mic so far.

[El Barto]

I just wanted to check what overhead meant exactly? When people say "record overhead," does that mean recording the toms, snare, and cymbals by putting the mic above them all?

[Recording Engineer]

Yes. And don't forget to add the room to that list.

[kristian]

maybe im being unorthodox, but I roll off all of the lows, and try to get rid of the other drums in the overheads as possible. Put a blanket over the back of the kick and that can help remove that from oveheads. While jazz sounds great from a boomy open kit, heavy metal sounds great with an isolated kit, small condensor on evey cymbal and each drum miced individually.

[Fishmed]

I read somewhere that the overheads should be your main mic source for your drums. Get the best sound of the whole kit with these mics. When you start to mix down, start with your overheads then add more kick, snare, toms, etc. where needed. I am going to try this once I get my studio back up and running.

[Recording Engineer]

I usually tend follow the theory of what Fishmed discribes rather than what kristian describes.

[Recording Engineer]

Pick-up the March issue of Electronic Musician El Barto/everyone.

[Must be nuts]

Maybe some one can help? I have limited resources, at times I have from 3 to 7 mics to use for the drum kit. I have found I get great cymble pick up useing two dynamic mics placed behind and above the drummer. With these mics angled so the pick up fields cross behind the drummers head. This setup picks up all the drums also if EQ'ed just right. Would the pickup of the entire kit be better if the mics centered more overhead? could use ideas.

[Recording Engineer]

Here's a hint... Use condensers.