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overhead mic positioning...
- Thread starter S8-N
- Start date
SilentSound
New member
Something i like to do is imagine i am standing behind the drummer and put the mics about where my ears are. Back em off the cymbals a bit cuz there are so many and then kind of look down the body of the mic like it's a gun at an area you feel will get a decent balance of all the nearest cymbals. After recording, cut a little 2k cuz they're backed off and proximity will do that to em. then boost like 12 to 16k or so and see waht makes it shine that should do it... oh yeah, if you can, lighty compress or just barely limit them
10 Cymbals! this will be fun.
I use a couple different positions for overheads. Sometimes I position the left overhead about 3 feed above the farthest left cymbal(s) pointing straight down at the edge, same thing with the right overhead. This can leave a hole in the middle but it works for me. Another way is to set them up in about the middle of the kit, 3 or more feet above kit, with the ends of the 2 mics almost touching each other, angled at 45 degree angles to each other - looks like a 'V' only more 45.
You are always going to pick up the toms, snare and kick, but this can work to your advantage. The overheads are critical in capturing the ambience and room sound. You can always to some low cut on them to minimize the kick, toms and snare to some extent.
Guess whatever works for your kit and room is what it really comes down to.
Emeric
[This message has been edited by Emeric (edited 11-03-1999).]
I use a couple different positions for overheads. Sometimes I position the left overhead about 3 feed above the farthest left cymbal(s) pointing straight down at the edge, same thing with the right overhead. This can leave a hole in the middle but it works for me. Another way is to set them up in about the middle of the kit, 3 or more feet above kit, with the ends of the 2 mics almost touching each other, angled at 45 degree angles to each other - looks like a 'V' only more 45.
You are always going to pick up the toms, snare and kick, but this can work to your advantage. The overheads are critical in capturing the ambience and room sound. You can always to some low cut on them to minimize the kick, toms and snare to some extent.
Guess whatever works for your kit and room is what it really comes down to.
Emeric
[This message has been edited by Emeric (edited 11-03-1999).]