Let's talk about overheads.

[wishtheend]

For those who mic in a spaced pair (max separation), how close are you getting to the cymbals? And how do you approach placement? Are you aiming at the groups of cymbals, or still trying to get a "stereo image" of the whole kit?

 

[Sloan]

For those who mic in a spaced pair (max separation), how close are you getting to the cymbals? And how do you approach placement? Are you aiming at the groups of cymbals, or still trying to get a "stereo image" of the whole kit?

I always try to get a good stereo image with the snare as centered as possible.
This is important!

As far as how close the mics are to the cymbals, it's all dependent on the sound you want. Further away captures more room sound and closer will catch more of just cymbal. It's all about balance though; if you put your mics too close they won't really give the cymbal sound enough time to develop.

 

[AStacy2]

I use SM81's for OH's and I have my own kit/cymbals that I record about 70% of the time, luckily. I deal with a lot of young local bands 2/3 of the time and then the decent indie signed band the rest of the time. Most of them are broke so not only do I have a kit, but I have guitars/basses/anything else too. Makes shit A LOT easier.


If I was going to roll off an OH, I would do it as steep as possible and adjust where I filtered off instead. I think it's a good idea to get the real low frequencys out of there to clear it up (below 80hz or so). I usually never filter them off above that though. I just keep the mic in the best position to be rejecting most of the hats and getting a good picture of the entire kit at the same time.


Also, a room mic such as an NT4 will help with cymbals a lot, try it! You don't even have to have an amazing sounding room for this to help you, but obviously it will help.

 

[SquareSteve]

Hey,
I don't really make too many posts on here (I've learned so much by reading everything though) but this one topic I am super interested in, especially regarding the over the snare/over the shoulder way of running overheads. First of all, is this the same thing as the Glyn Johns method of overhead set up?--I think that it is but I just want to make sure we're talking about the same thing. If so, does it have to be done with LDC's (as that's what I've read) or can you essentially get the same effect with properly placed SDC's assuming you are close miking the individual drums as well? Because I too have a pair of Oktava MC012's that I love, and though I have a few LDC's I don't have a matched pair yet. Any info, pictures, or additional input on this method would seriously be appreciated.

Thanks,
Steve

 

[everybody's x]

Yeah I'm talking about the Glyn Johns style and I use sdc's (mc012) when I do


heres the basic idea

sit on the drum throne take two drum sticks end to end , stand them straight up in the center of the snare. put your first mic there pointed down directly at the snare center,, pan that hard right (or vice versa for drummer's perspective)
now lean the drum sticks over to your right side place the second mic there pointed at the center of the snare (mines usually about 4 inches above the rim of the floor tom) pan that hard left (or.....you get the idea)

close mic the snare kick and toms (or not) this really gives a nice mix of the toms already unless you are going for a real separated close metal thing)

check everything in mono, snare will be out of phase with the OH a lot of times unless you get this just right (practice practice practice)

when you solo the OH's it will give you a very nice picture of the whole kit complete with excellent stereo imaging of the toms and the snare dead-center.

have fun

 

[Ice Man]

Yeah I'm talking about the Glyn Johns style and I use sdc's (mc012) when I do


heres the basic idea

sit on the drum throne take two drum sticks end to end , stand them straight up in the center of the snare. put your first mic there pointed down directly at the snare center,, pan that hard right (or vice versa for drummer's perspective)
now lean the drum sticks over to your right side place the second mic there pointed at the center of the snare (mines usually about 4 inches above the rim of the floor tom) pan that hard left (or.....you get the idea)

close mic the snare kick and toms (or not) this really gives a nice mix of the toms already unless you are going for a real separated close metal thing)

check everything in mono, snare will be out of phase with the OH a lot of times unless you get this just right (practice practice practice)

when you solo the OH's it will give you a very nice picture of the whole kit complete with excellent stereo imaging of the toms and the snare dead-center.

have fun

No, I can picture the first centered mic, but can you be a little more specific or visual with the "leaned" over head mic? Thanks.

 

[everybody's x]

let me find a pic to post


it's basically peeking over the top of the floor tom pointed at the hi hats

 

[everybody's x]

watch this

http://sfrecording.com/videos/DrumRecording.mp4

read this

best placement for drum overheads - Gearslutz.com

 

[Keiffer]

First of all, is this the same thing as the Glyn Johns method of overhead set up?--

I'm not familiar with the the Johns method, but I guess so. everybody's x pretty much summed it up.

I don't use sticks but a tape measure and point the shoulder mic a little differently. also, I make sure the distance to the kick is the same which requires adjusting the shoulder mic a bit.

another nice thing is the amount of hi-hat can be controlled by angling the snare mic and the amount of ride cymbal can be increased angling the shoulder mic, all without significantly affecting the the kit balance.

 

[Matt Smith]

I tracked drums in a nicer room last night, and things definitely came together a lot easier. It was nice to have more space between the cymbals and the ceiling, haha. It came out sounding killer.

 

[WeeFace]

Ive been using my SE electronic SE3s recently and getting good results. Once Ive got the pennys togeather Ill be getting a 2nd 4033 and a second C414 so the 414s will probably end up as the overheads.

I was using SE3s as overheads the other day, very pleasing for relatively cheap mics - actually outdid the KM184s I tried on the same kit/room. Would like to get some time in with these Octava's everyone's mentioning though, where can you get them in the UK?

 

[Jackal_Strain]

I've had some real nice results with akg 451 as overheads. I'm planning on buying a couple of em'.

 

[brandy]

I like the KM184 but they are not allways the right choice. Sometimes i need more "metal" mics - then i usually like my old and trusty C391's...

brandy

 

[SquareSteve]

Thanks everybody's x and keiffer for the reply. Super informative and I'm excited to test this out.

 

[Glenn Fricker]

Glad it's working out for you, Matt!

 

[greyskull]

gott getmesome of theose okatavaas

 

[Pman]

i got my oktavas from here from its ebay shop
(i live in uk)
Oktava studio microphones - genuine Russian made products
it was before they had an online shop

 

[Ice Man]

gott getmesome of theose okatavaas

I just picked up a pair of the MK012s myself and they're sweet, for sure. Sound great as overheads and they also do excellent on acoustic guitar, too.

 

[Ice Man]

watch this

http://sfrecording.com/videos/DrumRecording.mp4

read this

best placement for drum overheads - Gearslutz.com

Awesome, dude, thanks! The video showed me everything I needed to know. It seems like an obscure method, but you can see its usefulness in capturing the center of the kit with two different angles.

 

[Keiffer]

this method also works well with acoustic guitar.

mic 1 - out front down a bit pointed at the 12th fret

mic 2 - over the shoulder even with the body top plane pointed at the bridge.

both the same distance from what they're aimed at