importance of multiple overhead mics

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NotThatBright

New member
How important is having stereo overhead mics versus having a mono overhead mic in the whole scheme of producing high-fidelity recordings?

For instance... ignoring $ cost... say you're starting out with average-quality mics on all your drums, and one average mono overhead mic. You can upgrade in one of two ways... you could either have very good-quality mics on each drum and keep the mono overhead, OR you can have two overhead mics (same quality as before) and keep the average mics on each drum. Which situation would you expect to capture better-sounding recordings?

Hopefully that doesn't seem too stupid a way of posing the question. Basically I want to know if stereo overheads are a prerequisite to producing hi-fi recordings, or if they can be pulled off with a mono, if other factors pick up the slack.

Thanks.
 
I don't think stereo overheads are a prerequisite to producing hi-fi recordings, but I personally would prefer stereo overheads rather than mono.

That's because I like the stereo spread of drums and I like the sense of Space that OHs give.
 
And the genre has much to do with what is best for it.

This question is too vague without a description of the premise.

My answer to the specific question at hand would be 'it depends'. Just as vague.

:)
 
It's a question I've thought of before. I have 1 Neumann KM184 ($700) and 2 Naiant SDCs ($125 for the pair). In theory the Neumann should be a much higher quality (and I do prefer it by a good margin in certain applications such as classical guitar). For Overheads I still prefer the 2 Naiants to the 1 Neumann. As was said above, the stereo spread that can only be provided by 2 mics sounds good to me. I pan them in the mix and it sounds big - has a lot of air.

I used to use the recorderman technique and had some decent results. Lately I've been using the ORTF technique and I think it might be better for my particular situation.
 
ibleedburgundy said:
I used to use the recorderman technique and had some decent results. Lately I've been using the ORTF technique and I think it might be better for my particular situation.
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In my experience that makes a bigger difference than the mics used. How you set up your stereo overheads makes a HUGE difference. XY, Spaced, ORTF, Recorderman, glyn johns, whatever...they all sound very different. There's gonna be one type of setup in a particular room that works best. Move the drums to the other side of the room and you might need a different setup. The trick is finding what works best. It takes time and testing.
 
I was probably looking for a reason to keep my one overhead when I wrote the question. From what I've read here and from googling, etc, the general feeling seems to be that even if a mono can sound fine on its own, stereo still sounds better. That's good enough for me for give it a whirl. Thanks for your responses.
 
NotThatBright said:
By the way, Ibleedburgundy... $700 for a mic? Jesus! I hope it came with a Fiero or something. :)
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I didn't pay $700, I paid $600. But yeah it is pretty ridiculous. At the time I was playing classical guitar all the time and I just wanted something that would sound excellent so I went with the Neumann. This was over 10 years ago. Knowing what I know now, I probably would have invested differently.
 
ibleedburgundy said:
I didn't pay $700, I paid $600. But yeah it is pretty ridiculous. At the time I was playing classical guitar all the time and I just wanted something that would sound excellent so I went with the Neumann. This was over 10 years ago. Knowing what I know now, I probably would have invested differently.
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I wasn't calling you a dummy or anything. I was just surprised by the number. If I could play classical guitar at the level that I expect you can play it (if you're buying $700 mics, for Christ's sake :) ), I'd pay what I had to pay get the mic I wanted.
 
NotThatBright said:
I wasn't calling you a dummy or anything. I was just surprised by the number. If I could play classical guitar at the level that I expect you can play it (if you're buying $700 mics, for Christ's sake :) ), I'd pay what I had to pay get the mic I wanted.
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There's a Telefunken valve mic in this year's Studiospares catalogue that made me choke on my tea at six grand GBP. The sky's the limit on mics. :D I like stereo overheads. Treble instruments have a very definite sense of placement in the stereo image, bass frequencies far less so. The cymbal spread and attack on toms sounds far better in stereo.
 
Bubba po said:
There's a Telefunken valve mic in this year's Studiospares catalogue that made me choke on my tea at six grand GBP. The sky's the limit on mics. :D I like stereo overheads. Treble instruments have a very definite sense of placement in the stereo image, bass frequencies far less so. The cymbal spread and attack on toms sounds far better in stereo.
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You gotta be kidding me! You drink tea? :)

Just placed an order for everything I'll need to go stereo. That's awesome, I didn't know it would make the attack on toms sound better. That's one thing that currently sucks about my recordings. That freaking FedEx guy better haul ass! :)

bouldersoundguy said:
You're the producer. It's your call.
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Come on, man. This is no place for philosophy.
 
NotThatBright said:
You gotta be kidding me! You drink tea? :)

Just placed an order for everything I'll need to go stereo. That's awesome, I didn't know it would make the attack on toms sound better. That's one thing that currently sucks about my recordings. That freaking FedEx guy better haul ass! :)
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I'm drinking tea right now. And it's hot and there's no lemon in it. I am preposterously English. :D

One thing, though - you absolutely HAVE to get the placement right, or all sorts of odd things happen due to phase issues. Frequencies (especially lower frequencies) just disappear.

Look up the Recorderman technique for starters, get the tape measure and the piece of string and do exactly what it says. :D This is your baseline to judge how good your drums CAN sound, so you know if it's worse when you try different mic placements.
 
Bubba po said:
I'm drinking tea right now. And it's hot and there's no lemon in it. I am preposterously English. :D

One thing, though - you absolutely HAVE to get the placement right, or all sorts of odd things happen due to phase issues. Frequencies (especially lower frequencies) just disappear.

Look up the Recorderman technique for starters, get the tape measure and the piece of string and do exactly what it says. :D This is your baseline to judge how good your drums CAN sound, so you know if it's worse when you try different mic placements.
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Well, it's not THAT preposterous. I mean, you're speaking English, aren't you? And the dead giveaway is your habit of sticking "u"s next to "o"s where no "u" is necessary! Now that's preposterous. How the heck did we ever win WWII together with you guys doing wacky stuff like that?

Thanks for the info about the complications that lay in wait for me when I go to set up the stereo overhead. I have broken up with multiple girlfriends who had threatened to complicate my life at one time or another, but I won't run from this relationship with the stereo mics. I know we can work it out if we try, me and them. I'm more mature now, I've grown as a person. :)
 
NotThatBright said:
I have broken up with multiple girlfriends who had threatened to complicate my life at one time or another, but I won't run from this relationship with the stereo mics. I know we can work it out if we try, me and them. I'm more mature now, I've grown as a person. :)
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I have broken up with multiple girlfriends who "grew as a person".
 
NotThatBright said:
For instance... ignoring $ cost... say you're starting out with average-quality mics on all your drums, and one average mono overhead mic. You can upgrade in one of two ways... you could either have very good-quality mics on each drum and keep the mono overhead, OR you can have two overhead mics (same quality as before) and keep the average mics on each drum. Which situation would you expect to capture better-sounding recordings?
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Sell everything except the kik mic and buy one great all-purpose LDC for OH and everything else.
 
b00n said:
Sell everything except the kik mic and buy one great all-purpose LDC for OH and everything else.
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Given the lack of details as to the OP's actual needs, I call this a poor recommendation.

Sorry man. Just being honest.
 
It's a legit and alternative third way to upgrade.
Stereo does not not necessarily translate into great sound.
And one great mic will always trump two mediocre mics when it comes to sound quality.
If you can't even get great mono, why bother with stereo?
 
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