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WhiteNite007
New member
Could someone give me some input on advantages and disadvantages of OH mic? I have seen a few threads on them, but pictures or links to articles would help me most I think. Thanks guys in advance.
Dogbreath
Im an ex-spurt
Whudda ya mean "some input on advantages and disadvantages of OH mic"
??
Like where to put them?
If that's the case, do a search of Recorderman technique and Glyn Johns methods.
Both are good for not so great rooms but are also just good methods to capture the kit as a whole.
And that's what I do...get the kit as a whole thru the OH's and bring up my kick and snare mics and blend to taste.
I am, however, lookin to buy some tom mics for the extra control I'd have during mixdown.
??
Like where to put them?
If that's the case, do a search of Recorderman technique and Glyn Johns methods.
Both are good for not so great rooms but are also just good methods to capture the kit as a whole.
And that's what I do...get the kit as a whole thru the OH's and bring up my kick and snare mics and blend to taste.
I am, however, lookin to buy some tom mics for the extra control I'd have during mixdown.
I
Ironklad Audio
New member
there's as many ways to set up an OH mic as there are ways to fuck a chick, but i'd say always follow these 2 rules:
1)get each mic an equal height from the floor
2)get each mic equidistant from the snare
1)get each mic an equal height from the floor
2)get each mic equidistant from the snare
darrin_h2000
Banned
Yeah...they should point to the snare and you are supposed to be able to take a string from the center of the snare and have an equal distance from each mic...with one being over the right shoulder.
LeeRosario
New member
http://www.saecollege.de/reference_material/audio/pages/placement.htm
The idea behind modern overhead miking is a technique allegedly pioneered by Eddie Kramer with his work on some of the Led Zepplin albums in the 70s.
The idea is pretty simple, you're trying to capture a balanced stereo image of the drum set, considering how the drums are usually mixed firmly down the middle in many contemporary genres. Personally, I don't really see any direct disadvantages to this technique other than being at the mercy of your equipment selection and the room your in. In fact, how you setup these mics depends mostly on the room you're in since these mics essentially capture the entire kit in their environment. That and watching out for phase and comb filtering issues.
Then it comes to the standard overhead mic placements, you've got three:
X/Y (90 degree)
spread-pair
Mid-Side configuration.
Other recognized configurations for stereo recording are:
ORTF (like X/Y @ 110 degrees)
NOS
These are all scientifically tested and proven methods. The catch is a good stereo image depends entirely on an mechanically calibrated matched pair of microphones, or at least a matching model pair of mics. I highly recommend not to get stuck to "one setup fits all" because every situation is completely different. So the best approach is to use your ears and move the mics around until the image sounds right to you. Spread pair may work for one room, whereas X/Y may work better for another room.
Artistically you might even opt for a more stereo enhanced mic setup (like spread pair) or a more mono compatible setup (like X/Y)
You might actually find yourself putting the mics right over the kit as much as you might end up figuring out they sound better in front of or behind the drummer. I've heard of engineers having to tape the mics way up in the ceiling facing away from the drums because that was the best sound for that room.
You never know until you hear it
darrin_h2000
Banned
IMHO the AT40 line gives you the best shot at matching stereo pairs straight off the shelf...the Japanese have to be the most anal in thier manufacturing prosess.
DrewPeterson7
Sage of the Order
Assuming through some weird fluke of nature I ever get the chance to mic a set in a really good sounding room, are there any other techniques you'd recommend over these two?
miroslav
Cosmic Cowboy
For stereo kit...
I swear by the M/S technique...and specifically placing the M/S mics "inside" the kit, roughly positioned over the drummer's knee that is between the Kick & Snare...and not too high up, no higher than about 8' off the flor, otherwise you start to lose the stereo spread as you go higher.
With that setup...I only add individual mics on the Kick and Snare...and I'm good to go. Four mics/four tracks...easy as pie.
I swear by the M/S technique...and specifically placing the M/S mics "inside" the kit, roughly positioned over the drummer's knee that is between the Kick & Snare...and not too high up, no higher than about 8' off the flor, otherwise you start to lose the stereo spread as you go higher.
With that setup...I only add individual mics on the Kick and Snare...and I'm good to go. Four mics/four tracks...easy as pie.
darrin_h2000
Banned
Did you mean inches or feet?
miroslav
Cosmic Cowboy
8' - feet
I've seen pics of OH mics placed 12-14 feet off the floor...which may be great for the room sound, but you start to lose your stereo spread that high up.
I like to feel the drum rolls move left-to-right (or vice versa), and not be kinda' all jammed up the middle of the mix.
I've seen pics of OH mics placed 12-14 feet off the floor...which may be great for the room sound, but you start to lose your stereo spread that high up.
I like to feel the drum rolls move left-to-right (or vice versa), and not be kinda' all jammed up the middle of the mix.
leddy
Well-known member
Place the overheads in the right spot in front of a good drummer and a good instrument and you may not need any other mics on the kit (except maybe snare and bass). That should be the goal. The drum kit is one instrument, not a bunch of them.
All of this mic'ing the top and bottom of a snare, mic'ing the hat, etc...recipe for mush.
Just my own (slightly narrow-minded) opinion.
All of this mic'ing the top and bottom of a snare, mic'ing the hat, etc...recipe for mush.
Just my own (slightly narrow-minded) opinion.
darrin_h2000
Banned
8' - feet
I've seen pics of OH mics placed 12-14 feet off the floor...which may be great for the room sound, but you start to lose your stereo spread that high up.
I like to feel the drum rolls move left-to-right (or vice versa), and not be kinda' all jammed up the middle of the mix.
4' over the set is the rule of thumb as dictated by a few experts I seem to agree with.
miroslav
Cosmic Cowboy
Not sure what "4' over the set" means exactly....4' from the snare...from the toms...from the cymbals...?
I'm measuring from the floor, since that is always the same.
So 8' from the floor...ends up being about 3-4' "over the set".
I'm measuring from the floor, since that is always the same.
So 8' from the floor...ends up being about 3-4' "over the set".
Dogbreath
Im an ex-spurt
I dunno...I don't have a really good sounding room.
I've tried the spaced pair and MS but in my room (which isn't bad just not great) I just keep coming back to the Recorderman and Glyn Johns. Actually, it's more of a blend of the two with close attention paid to the measurements.
I'm pretty sure Gerg L uses Recordermans method but adds the tom mics. He gets a damn good sound and he uses (I think) a cheaper set of Cad mics.
Kinda shows me it's not so much about the gear as the man behind the gear.
darrin_h2000
Banned
I dunno...I don't have a really good sounding room.
I've tried the spaced pair and MS but in my room (which isn't bad just not great) I just keep coming back to the Recorderman and Glyn Johns. Actually, it's more of a blend of the two with close attention paid to the measurements.
I'm pretty sure Gerg L uses Recordermans method but adds the tom mics. He gets a damn good sound and he uses (I think) a cheaper set of Cad mics.
Kinda shows me it's not so much about the gear as the man behind the gear.
Nah...you can allways mic the toms and snare to make fills sound better and the Glyn Johns method gives you something that sits well in the mix for the rest of the song...it doesnt take a genius to follow a diagram on how to close mic some toms...lol.
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