Drum Mic Overhead - Frustrated!

R

raximus

New member
Ok everyone, i am a jack of all trades, master of drums (at least i like to think so). I'm running protools le 8, audix mics on my set and a Digi003R+.

Ok, the problem is that i just can't find an overhead setup that i like. The XY doesn't have the width that i want.

I really like the sound of the recorderman technique (use 2 sticks together as a measure place directly above snare then the next 2 sticks to drummers right shoulder). BUT, i find that if i have an overhead only two sticks together above the snar I can't let loose! I have to change the way i play to make sure i don't hit it which is not good.

So. What I am trying to ask is, if i put say the overhead 3 sticks high rather than 2, and the other mic 3 sticks from the snare by my right shoulder, will this still minimalize phase cancellation?

Any other techniques? I basically just want my overheads to not be in the way and sound good

Thanks

James
 
In terms of phase cohesion it doesn't matter what the distances are from the snare to the overheads and the kick to the overhead providing they are the same for each mic. You will however pick up more of the "room" sound the further away they are but you could always use SE IRFs to reduce this.

I like the recorderman technique because it is very predictable and easy to reproduce a natural sound. I normally add close mics to the snare, kick and toms, compress these hard and mix in a little of each to add a little more "smack" but most of the sound still comes from the overheads
 
You can put the mics as far as you want, 2 sticks away isn't a rule.
 
Recorderman technique

So a rule for the recorderman technique that works well for me is to measure out 40cm from the centre of the snare to put one mic right above the kick pedal at 40cm and another mic 40cm from the snare beside the floor tom pointed at the centre of the snare. Give it a shot.


Scott
 
Another modified glyn johns approach is to put a condenser over the rack tom(s) and one over the floor toms (s). Make sure they're equidistant from the snare center, and about the same distance from the toms that they're close to. You can adjust the amount of tom in the mix by moving the mics away from the toms. You'll need a kick mic and probably a close snare mic, but with those 4 mics you can get a very good drum sound. Add a couple of room mics, and you're in business (put room mics out in the hall, or wherever, then delay them by 20-40 ms to get a bigger sound.)

Have fun!

PS

The difference between glyn johns and recorderman is the attempt to keep the mics eqal distances from both the snare and the kick. I find that little too limiting.
 
As long as we're reviving an old thread, poor stereo spread can be caused by getting the angle between mics wrong, using mics with poorly designed grilles, or using mics with too narrow a polar pattern. Try wide cardioid for close stereo purposes.
 
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