overhead technique

[punkrcker32]

So i was wondering what the best technique is for drum overheads. So far i have tried XY and also i have put the 2 overheads on their respectable sides. I havent really figure out which is best yet, and i was wondering if anyone had good ideas.

 

[RezN8]

I say A LOT depends on the drummer AND room dimensions - especially ceiling height. Also depends on the type of mics and the pick up pattern... Also depends on how many other mics will be used AND the sound engineer's abilities. So you really HAVE to experiment.

I highly suggest you try ORTF, NOS and Blumlein pairs:

http://en.wikipedia.org/wiki/Stereophony#X-Y_technique:_intensity_stereophony


Cheers, Rez

 

[steelphantom]

Try the Recorderman overhead technique. A lot of people have used it with good results. Here's a demo of it being used: https://youtube.com/watch?v=IiFOD1EeKhQ

 

[Track Rat]

A great deal of what techniques you can employ are dictated by the room. The smaller the space, the more restricted your choices become. Personally, I usually try one of three, X-Y, Mono (single mic) or a Jeklin Disc with a couple of omni's. These slow down the chances of phase problems and the X-Y or Jeklin setup still sounds like good stereo to me. And I really prefer the mono overhead but 99% of clients look at me like I'm from another planet when I mention it.

 

[Elton Bear]

I use a mono overhead, mainly because my only matched pair are cheap and I have an OK LDC to use, but it does the job for me!

 

[YellowMatter]

I use a spaced pair. I also worry more about capturing the cymbals rather then making sure everything is phase coherent, because phase coherency is near impossible and usually means you are compromising positioning. So what do I do? I use the phase flip button when needed. Its there for a reason.

 

[slidey]

I've recently started using a mono overhead SDC with 2 LDCs in the room setup to about the position of a first row seat & equally spaced from the 1st tom & the last tom

but I'm gonna try the recorder man method. Never tried that one, thanks for the clip Steel phantom

 

[slidey]

the kit is on a riser when I set this up about 1 foot off the ground & I might point out the the person's ear height for the mic is me on the 1st row position out front

which means the mic's on the floor

nah I'm about 5,6

 

[Supercreep]

We've used ORTF, spaced pair, XY, and Recorderman.

So far, Recorderman FTW.

 

[donkeystyle]

try recorderman

 

[FattMusiek]

I've used the Recorderman OH technique many, many times, but I can't help but feel I don't get the desired stereo spread I'm after when I use it. It was the first OH mic technique I learned here on the boards years ago. I usually use XY because I can manipulate the image by increasing the angles of the mics. I also have minimal phase issues this way. The way I see it, the Recorderman setup is for very minimalistic miking situations. If you're using more than 4 mics, I'd go with XY.

Strangely enough I've yet to try ORTF. It's been a while since I've experimented with drum tones...

 

[donkeystyle]

I've used the Recorderman OH technique many, many times, but I can't help but feel I don't get the desired stereo spread I'm after when I use it. It was the first OH mic technique I learned here on the boards years ago. I usually use XY because I can manipulate the image by increasing the angles of the mics. I also have minimal phase issues this way. The way I see it, the Recorderman setup is for very minimalistic miking situations. If you're using more than 4 mics, I'd go with XY.

Strangely enough I've yet to try ORTF. It's been a while since I've experimented with drum tones...

you could point the mics away from eachother more and more towards the hats and ride to get more stereo seperation and still keep the kick and snare in phase in the overheads.

 

[FattMusiek]

I will give it a go next time I use this technique.

 

[leddy]

And I really prefer the mono overhead but 99% of clients look at me like I'm from another planet when I mention it.

You should try M/S then, if you have not already. Satisfy the client, then turn down the side mic when they're not looking...

If you use the Beyer M160/M130 combo, you'll likely dig it anyway. Those things are gorgeous on drums.

 

[RAMI]

I've used the Recorderman OH technique many, many times, but I can't help but feel I don't get the desired stereo spread I'm after when I use it.

I'm surprised to hear that. When I went from X/Y to Recorderman, I found I had to narrow the panning on my overheads...It was almost too wide. But it's also possible that I was doing something wrong in my X/Y that didn't give me enough spread.

The way I see it, the Recorderman setup is for very minimalistic miking situations. If you're using more than 4 mics, I'd go with XY.

Yeah, I use only 4 mics, so I can't argue with that. For me, it really works with my set up.

 

[Track Rat]

You should try M/S then, if you have not already. Satisfy the client, then turn down the side mic when they're not looking...

If you use the Beyer M160/M130 combo, you'll likely dig it anyway. Those things are gorgeous on drums.

I've tried M/S but my room's so small (12X14) there's no real bennifit that I can hear.

 

[leddy]

I've tried M/S but my room's so small (12X14) there's no real bennifit that I can hear.

M/S excels in bad rooms because of the ability to alter the amount of stereo spread in post, IMO. What mics did you use?

It just came to mind when you said you like a mono OH but your clients don't. If you can get a mono sound you are happy with, then you just add a fig. 8, you'll have the option of adding it in (or taking it out ) later.

 

[Track Rat]

A KM-184 for the center and a AM-52 for the fig 8.

 

[ecktronic]

I use a spaced pair. I also worry more about capturing the cymbals rather then making sure everything is phase coherent, because phase coherency is near impossible and usually means you are compromising positioning. So what do I do? I use the phase flip button when needed. Its there for a reason.

I like to use the OHs as a spaced pair also. I try to get a realistic stereo field, by making sure when monitoring (after hard panning) the ride cymbal is coming out the right monitor and the hi hats coming out the left monitor. I monitor in mono to make sure the low end is not lost in mono which is a good indication of the 2 OHs being in phase.
I also try and have the snare centred between the OHs as much as I can.
I use close mics on the cymbals also which gives me alot more control at mix down. Means I can really boost the OHs to get a natural roomy sound at times, and then I can also bring the OHs down in the mix, but still have the cymbals in there by bringing up the close cymbal mics.

Eck