OH Mic Placement (completely noob ?)

[wishtheend]

Alright, so the previously posted YouTube video got me thinking. I understand the two mic technique and how to measure the distance to keep it all in phase - but how do you go about OH placement with 4 or more mics?

I guess what I'm confused about is how to place them to catch the stereo spread and keep everything in phase. Every drum is close miced, so I'm not too worried about capturing the whole "kit" in the OH (since they'll be hi-passed). How high do you place the main OH compared to the hat or ride? Do you point the mics straight down, towards the center of the kit, outward?

Here's how my cymbals are set up from left to right (drummer perspective).

14" Crash
14" Hats
16" Crash
(8" splash directly underneath 16" crash)
18" Crash
19" Crash
(10" mini china directly underneath 19" crash)
20" Ride
18" China

So what happends is the 18" crash pretty much is the center of the kit. What I have done previously is place on OH a little left of the 18" pointed towards the left side (capture the 16" and under), and the other a little right of the 18" pointed towards the right (capture the other side). Then close mic the hats and ride (hat pointed away from snare, ride from underneath).

To be quite honest I have no idea of what i'm doing is all right and I've tried to find pictures of similar setups, but usually can't find something that really focuses on the cymbals. If anyone is as kind to teach a noob, I need whatever help I can get.

 

[everybody's x]

read the sticky threads about it.

I believe that Andy mics cymbals in pairs (one mic per two cymbals) about a foot above them, combined with some room mics in front of the kit. He also records the finest drummers in the world.


Most drummers I record have no concept of dynamics and they bring in their super-metal 65lb shit cymbals and beat them like they owe them money. the LAST thing I want to do is close mic them, I spent several hours trying to get the cymbals OUT of the mix.

 

[wishtheend]

I have searched for quite some time on the forum, read Oz's article and pretty much stayed current with threads whenever this is brought up. But I just don't really feel comfortable with it yet. As for Andy's method, does anyone know a little more detail on it? Do these point straight down, or would one angle it towards or away from the bell of the cymbal?

 

[scorpio01169]

i dont know about everyone else but i have them pointing down....but more above the outer part ( further away from you ) than towards the middle to pick up less toms and snare....yes they still get in but for me it helps

 

[Loren Littlejohn]

I point them down as well.

But I have seen them pointed out also, not sure if I have ever seen them pointed in (unless your doing XY).

 

[wishtheend]

Thanks for the info. I think pointed down would work, but the way the cymbal is creating sound makes me think almost angled a little bit towards the outer edge where the cymbal is hit would be right - but that would add a lot more "kit".

I'm guessing everyone agrees that the diaphragm is pointed towards the edge of the cymbal? I may give the pair micing a go, just means I gotta dig up more mics

 

[punkrockacademyfightsong]

i always aim the mics at the cup, it you aim them on the edge of the cymbals you will hear phasing on the cymbals as they come closer to the mic when they are being hit. the closer to the center, the less movement you will have from or towards the mic.

 

[Loren Littlejohn]

hmm never thought about it that in depth, I don't think about individual cymbols I think about "what would be the best way to capture all the cymbols using 2 overhead mics in a way that will still creat the stereo image of the kit I am after".

 

[joeymusicguy]

i like to point small diaphram condensors straight down at the main crashes, about 3 or 4 feet directly above the exact center of the cymbal

then i like to use different mic's for every other cymbal, effectively having a mic per cymbal

i usually use like a 421 on a ride, and anything i have left for the hi hat

works very well, cymbals can sound lower in pitch if your mic is on axis with the horizontal plane of the cymbal tho, which might take getting used to, but i like it.

 

[HeadCrusher]

What if one had only two OH mics (placed above the kit). Would the Hihat work without an extra mic?

 

[scorpio01169]

i always aim the mics at the cup, it you aim them on the edge of the cymbals you will hear phasing on the cymbals as they come closer to the mic when they are being hit. the closer to the center, the less movement you will have from or towards the mic.

I've never had that problem.

 

[Loren Littlejohn]

What if one had only two OH mics (placed above the kit). Would the Hihat work without an extra mic?

The high hat will always work as as long as your drummer is physically able to hit it

Joking aside I never use a high hat mic I find it to be un nessesary (I have miced the hats but I end up scraping the track) the overheads always pick up more than enough for me.

 

[HeadCrusher]

^Good to hear that, now I know I'm not make total bullshit! &#37 I onced used a single Overhead together with an SM57 on the hihat (yes - I didn't have anything better available...). The Hihat was already good in the OH, i just panned the SM57-Track on the right side to have at least something like a (fake) stereo image - worked!