Using mismatched condensers for overheads?

  • Thread starter Thread starter samth3mancgp
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samth3mancgp

samth3mancgp

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I want to know whether or not using two nicer large diaphragm condensers that are mismatched would be better for overheads than Using cheaper mics like PG-81s or CAD small diaphram condensers.

Would the differences in the mics be that noticeable?
 
samth3mancgp said:
I want to know whether or not using two nicer large diaphragm condensers that are mismatched would be better for overheads than Using cheaper mics like PG-81s or CAD small diaphram condensers.

Would the differences in the mics be that noticeable?
Click to expand...

Not to the casual listener or recording enthusiast.

Try them if you have them. If you don't, use what you have.
 
I dont have to...but if I did Id try a M/S technique first since I have the mics for it.
 
Two unlike mics used for a stereo image may have phase problems like comb filtering. You may want to go with only one in the center instead.
 
I have the PG 81s that I can use as overheads. I might do a test using both the PG 81s and the mismatched pair. One wil be an AKG 414, the other will be either MXL 990, Rode NT-1A, or Sterling ST-59. I'd have to borrow the Sterling. I'll place them as close to eachother as possible and then A/B it afterwards.

I've heard of the Mid/Side setup as well as X/Y. but I have usually just placed the overheads evenly between the cymbals.

Thanks for all the response :)
 
Try just only using your 414! 3 or 4 feet out in front and about 5 or 6 feet up and tilted down toward your drums as a start move that mic around and find the sweet spot!
Also try different polar pattens of that 414 out there maybe you'll hit on something different and likable .
I have had good luck capturing the drums this way - a real acoustic sounding drum set the way drums are to sound , the room plays in to the factor so don't forget move that mic around till you hear what you want.
 
RawDepth said:
Two unlike mics used for a stereo image may have phase problems like comb filtering. You may want to go with only one in the center instead.
Click to expand...

You would need to explain this further. I'm not sure how you can get phase problems using mismatched mikes.

They may have different response characteristics . . .but would that introduce comb filtering?
 
Oops, you are right. I was mistaken about the comb filtering part. (That's what I get for posting before I've had my morning coffee.) But mismatched mics will introduce phase problems none-the-less.

Perhaps this article will help.

http://www.soundonsound.com/sos/may06/articles/qa0506_1.htm

This is a quote from YEP over at the Reaper forum on the same topic.

"...having one mic peak +2dB at a certain freq, and the other mic dip -2dB at the same freq could be a significant problem. Notes that resonate at that frequency might appear to suddenly move to one side, room sound and ambiance might feel unbalanced or acoustically "wrong", setting balanced levels might be difficult, and so on."

Another thing to consider is that large diaphragm mics tend to capture less off-axis HF than small diaphragms making them a poor choice in general for overheads.
 
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moresound said:
Try just only using your 414! 3 or 4 feet out in front and about 5 or 6 feet up and tilted down toward your drums as a start move that mic around and find the sweet spot!
Also try different polar pattens of that 414 out there maybe you'll hit on something different and likable .
I have had good luck capturing the drums this way - a real acoustic sounding drum set the way drums are to sound , the room plays in to the factor so don't forget move that mic around till you hear what you want.
Click to expand...

That might be worth a try :) I've heard reallllly good things about the 414 as an overhead. I'd probably set it to omni or one of the 2 wider cardioid patterns in that situation to try and get more of the kit.

In thread about buying them I was originally considering a stereo pair of them. But it ended up being a little bit too much :( so I went with just one of them. It said on the AKG website that a stereo pair is 2 mics that have been "matched" based on frequency response and sensitivity tests and are within 1dB of eachother across the spectrum. So if I wanted to buy another 414 down the road.. Could I go to the store (or persons house or ask for picture through email on eBay) depending on how I buy it and compare the frequency graph to mine to find a good pair? My 414 will be coming with a frequency graph but I cant find one on their website, which leads me to believe that each mic has its own specific response graph made.


RawDepth said:
Oops, you are right. I was mistaken about the comb filtering part. (That's what I get for posting before I've had my morning coffee.) But mismatched mics will introduce phase problems none-the-less.

Perhaps this article will help.

http://www.soundonsound.com/sos/may06/articles/qa0506_1.htm

This is a quote from YEP over at the Reaper forum on the same topic.

"...having one mic peak +2dB at a certain freq, and the other mic dip -2dB at the same freq could be a significant problem. Notes that resonate at that frequency might appear to suddenly move to one side, room sound and ambiance might feel unbalanced or acoustically "wrong", setting balanced levels might be difficult, and so on."

Another thing to consider is that large diaphragm mics tend to capture less off-axis HF than small diaphragms making them a poor choice in general for overheads.
Click to expand...

This makes sense to me. So for good stereo overheads I should probably stick to the PG81s. Like I said above I think I might use either omni or one of the 2 wide cardioid patterns on it to compensate for picking up evenly around the kit. ;)
 
Ya sounds cool
Excellent choice with the 414 I have a stereo pair and an older one and they get put to work hard by me all the time,you will get the specs and you will find a match.

when using just one for drums use it like I suggested earlier in this thread out front and up some pointing down towards the kick(it use to be all there was to micing the drums) move it around till you find that spot.

Be careful with the patterns thou you have to have a good sounding room to use some of the wider ones or all heck will brake loose and you'll put a tear in the space time cor ilium with cats and dogs living together total mayhem.

**This has been a message from MoreSound Time Machine Store - in business since 2075**
 
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