SDC vs LDC overheads..

[sirslurpee]

Right now I am kind of experimenting, trying to improve my recording sound like I do every day. I've got my drums tweaked within tolerance in the room and I decided to try to tweak my overheads to see if I can get them to sound the way I want. Right now I am using some CAD SDC's and it seems like the image of the kit is not very good. It picks up the snare mostly, then cymbals, then kick and then the toms are the least heard, and it seems to be a pretty drastic difference. I suppose I could compress it a little bit but I am trying to get best sound I can raw. I was wondering how much of a difference some LDC's would be. I don't have much to spend on them, so maybe $100/pair or somewhere around there would be good. I am still working on mic placement also though so I'm not ready to make a decision yet on just dumping the mics I have and buying some new ones.
Also, would LDC's work for decent vocal or guitar mics by any chance?
Thanks!

 

[Supercreep]

I think SDCs are going to be a little more forgiving in terms of off-axis response than LDCs. If the image you're getting isn't right, set up your drums and mics so that the image is improved. For example, if you're getting too much cymbal and not enough toms, lower your cymbals and hit your toms harder. Too much HH? Move the OH slightly and play with a lighter touch. Too much snare? You can't have too much snare. Just kidding. Same answer - move the oh slightly and stop whackin' the damn thing so hard. Small movements make big differences here. You should experiment with vertical and horizontal placement until you find a happy medium.

-Casey

 

[LeeRosario]

Well think of the physics for a second...


It would logically take more energy to put a large diaphram in motion than a small one.

So usually small diaphram condensers work well on transients (sharp hits) since they can reset faster than a large diaphram.

However, that's not always the case. There are good LDC pairs that have extremely fast transient reponses. They cost some money though.

And yes, LDCs are commonly applied for many different purposes.

You would have to weigh out the pros and cons. LDCs capture a broader and more complete stereo image, but might not capture as quickly as a small diaphram condenser.

If someone was a purist, as I have to be, then you would either buy a matched pair or have your pair sent off to a professional technician to match them for you. But that's a step usually reserved for professional work or something like that.

The Nady CM series is alright for that budget. Probably worth looking into.

 

[snow lizard]

Well think of the physics for a second...


It would logically take more energy to put a large diaphram in motion than a small one.

So usually small diaphram condensers work well on transients (sharp hits) since they can reset faster than a large diaphram.

Sort of.

Logically, a large sail on a boat should be able to pick up more wind than a small one. This is why large diaphragm mics are more sensitive. Larger diaphragm = more output from the same energy.

The transient thing is more a function of mass, so there is an argument that a small diaphragm has less mass, therefore faster transients.

Now consider a 6 micron diaphragm vs. a 2 micron diaphragm. The thickness will also affect mass in a not so small way. The way the capsule is tensioned could also make a difference.

SDCs are said to have better off axis response. It's a more natural sound. Still, LDCs can be made that have decent off axis sound and good neutral instrument recording characteristics. They also usually impart more "colour". Which one works better is a matter of taste.

I still think placement can make a bigger difference than what mics you have. I usually put my "overheads" under the cymbals and fairly close to the toms, or in front of the kit from a bit of distance, but it's definitely a compromise considering the mics I'm using and the room I'm recording in.

Whatever works...


sl

 

[jaykeMURD]

I use LDC's for overheads exclusivley. I usually don't have any problem with "off-axis response" or things like that. I also place the mics carfeully and I'm meticulous about everything. I don't mic toms, but I mic the snare and Kick. Sometimes I'll add another LDC as a room mic, to pick up more reverb and resonance....to get that live, roomy sound. I find LDC's to be more capable of supplying a "thicker" and "richer" sound than SDC's in the similar price range. Now, keep in mind, I've never even touched mics worth more than 400 dollars each, so I'm experienced with the "lower end" or miking and production. I find the 50 dollar MXL 990 LDC's to do fairly good in conjunction with a decent kick mic and SM57 on snare. I'd almost always recommend a stereo pair of LDC's to really work well. SDC's can be very nice however! You just usually have to mic the toms individually to get a good sound all around when using them. Just experiment....when you can. Buy some mics from musicians friend, try them for 45 days then exchange them for another pair if you don't like them!
Good luck.

 

[snow lizard]

I think the 990 uses the same diaphragm as the 603s, (20mm, or around 3/4") so technically it's not really a "large diaphragm", even though it's in a side addressed housing rather than a pencil housing.


sl

 

[Cult_Status02]

Currently, I'm using 3 sm57's (snare, one in the middle of my rack toms, and one on floor [doesn't give off as much rumble as a kick mic]). Then, for my over heads, I'm using the Nady CM 88s, they are SDC's placed roughly 2 feet above my cymbals. They pic up everything, so I have them mixed pretty low. Having them mixed low will pic up some bass still, as for some reason the Nady's pick up bass easily, but that's ok. They mostly pic up the cymbals and add an ambience to the others, a bit of a natural reverb sound to the snare and toms. For my kick I'm using a Shure Beta 52A...that I'm not happy with right now .
Hope that helps a bit. This set up is sounding great for me, but like I said the Beta isn't making happy.