surfmaster
New member
but i really dont like matched pairs. does anyone else also like using completely different mics for their overheads?
TuoKaerf
New member
Not really. I use a stereo pair for overheads.
However, I will use 2-3 different mics for the room.
However, I will use 2-3 different mics for the room.
northsiderap
New member
??
Why don't you like matched pairs?
surfmaster said:
Why don't you like matched pairs?
surfmaster
New member
i love stereo overheads. but with matched pairs everything sounds too alike! i like the set to have different tones to it. i guess i would like the mics to be sorta matched, but just in how sensitive they arem not in their tonality. maybe i'm just crazy!
R
RAMI
Guest
That's the strangest thing I've ever heard in my llife.
brendandwyer
New member
surfmaster, use whatever mics you want....as long as it sounds good. I think as long as it sounds good, actually good not "oh that's quirky" (but deep down you know it could be 100 times better).
crosstudio
New member
if you don't have a matched pair you won't have an accurate recording of the stereo field and you have to start playing around with the EQ knobs to get things balanced. and then once you get things balanced, you will probably still have to play around with the EQ to get things out that you don't want in, but you've got to factor in the "balancing" that you applied to the EQs when you start cutting stuff out.
brendandwyer
New member
it's sort of also though what you want to accomplish. If you want a completely accurate reproduction of the sound of the drum set, then crosstudio is right on.
Some of our work attempts to make a drum set not sound accurate at all. We sometimes record the drums with 1 mic total, heavily limit it, and throw it hard right because that's the effect we're going for. So maybe instead of saying "you need a matched pair", maybe if we knew the result you were looking for, there would be more opportunity for different advice.
If you're looking for an ultra-clean, ultra accurate drum sound, use a high quality matched pair and high quality preamp. you'll be golden
Some of our work attempts to make a drum set not sound accurate at all. We sometimes record the drums with 1 mic total, heavily limit it, and throw it hard right because that's the effect we're going for. So maybe instead of saying "you need a matched pair", maybe if we knew the result you were looking for, there would be more opportunity for different advice.
If you're looking for an ultra-clean, ultra accurate drum sound, use a high quality matched pair and high quality preamp. you'll be golden
Fletcher
New member
I use dissimilar overhead mics all the time... I often find that it will add a nice measure of "depth" to the sound of the kit. I've even mixed 'types' of mics with a lg. diaphragm valve condenser mic [Horch RM-2J] on the ride side and a ribbon mic [Crowley and Tripp "Soundstage"] on the High Hat side.
Somedays it's exactly what the doctor ordered... other days I pull it down and put up a single "stereo mic" like a Neumann SM-69 or a Royer SF-12.
Best of luck with your search.
Somedays it's exactly what the doctor ordered... other days I pull it down and put up a single "stereo mic" like a Neumann SM-69 or a Royer SF-12.
Best of luck with your search.
M
mixsit
Well-known member
This is the second time I've seen someone post this same sentiment recently, he liked a Coles and Royer combo, (can't recall where, doesn't mater) But it does open an interesting door for my situation -90% of my kit is from matched qtc1's but I need a sdc cymbal up grade. I just ran into a single KSM32 for a great price, but maybe I'll try something else for the second.
Nice.
Thank you.
Nice.
Thank you.
surfmaster
New member
i posted this because i was recording this hardcore band with a lot of hi-hat and noticed how much i actually didnt like the transient response of the small condenser on the hi-hat, but liked it on the ride. so i just threw up a large condenser for that side of the stereo field and left the small condenser over on the other side and i was much more pleased with how it sounded and it also brought out his small tom as well which was a lot quieter than his floor tom before. i feel like everyone has these set ways to do things when sometimes you just have to bend the "rules"
SouthSIDE Glen
independentrecording.net
Nice job and nice post, surf.
It's called "using one's ears".
If more recordists actually did that we'd be able to put these boards to rest.
G.
It's called "using one's ears".
If more recordists actually did that we'd be able to put these boards to rest.G.
Alexbt
New member
I agree totally. Use what sounds best! Not necessarily what you're SUPPOSED to use.
Just like I think XY placement is overrated.
Just like I think XY placement is overrated.
C
chessrock
Banned
Although I believe there are much more extreme and creative ways one can go about being a renegade and a rebel ...
... if using two different mics as your overheads is your own way of "sticking it to the (proverbial) man," then by all means knock yourself out. There are certainly more potentially damaging ways of expressing one's individuality.
.
... if using two different mics as your overheads is your own way of "sticking it to the (proverbial) man," then by all means knock yourself out. There are certainly more potentially damaging ways of expressing one's individuality.
.
I
innobidova
New member
I have two AKG C414 B-ULS mics that I use for overheads, but they are mismatched. I happen to have the frequency response charts for them and they are quite dissimilar. I still get a slammin' sound, though. 
surfmaster
New member
chess,
having two different kinds of mics as overheads isnt my way to "stick it to the man," its my way to make my drums tracks sound better than they did before.
having two different kinds of mics as overheads isnt my way to "stick it to the man," its my way to make my drums tracks sound better than they did before.
C
chessrock
Banned
surfmaster said:
My point remains the same, either way. Which is: "As long as you're not blowing anything up" or hurting anyone, basically,
then do whatever works..
F
flamin-gitaur
New member
surfmaster said:
Pay no attention to chess, seems it is his way or the highway regaurdless of how right OR wrong someone may be. If it works use it. If it doesn't...ask chess.
C
chessrock
Banned
flamin-gitaur said:
It's either my way ... or the fry-way, buddy.
And my way is to take two computer microphones, stick them both right above the ride cymbal ... be sure to vary the distance so as to create phase incoherence before you sum that to mono. No, I take that back ... instead, you'll want to pan them all the way left and right, so it sounds like you have this gigantic ride cymbal that covers the entire stereo spectrum ... but it all kinda' disapears or becomes really thin when you listen in mono.
Now run that in to a BBE Sonic Maximizer set to "stun" so it all sounds good and crisp and clear.
That's the only way to mic a drum kit. You do it any other way, and I'm comin' after ya~!
.
F
flamin-gitaur
New member
chessrock said:It's either my way ... or the fry-way, buddy.
And my way is to take two computer microphones, stick them both right above the ride cymbal ... be sure to vary the distance so as to create phase incoherence before you sum that to mono. No, I take that back ... instead, you'll want to pan them all the way left and right, so it sounds like you have this gigantic ride cymbal that covers the entire stereo spectrum ... but it all kinda' disapears or becomes really thin when you listen in mono.
Now run that in to a BBE Sonic Maximizer set to "stun" so it all sounds good and crisp and clear.
That's the only way to mic a drum kit. You do it any other way, and I'm comin' after ya~!
.
What ever turns you on
but I think TWO sonic maximizers would work better, one for each mic. 
Ok ....should I start running now?