Overheads Question. Anyone ever....

jangoux

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May 9, 2006
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used different microphones for stereo overhead mic'ing ? I just sold my pair, have to track drums on thursday, and the KM184s that the studio I work on have will be used. So I am stuck with a bunch of different microphones. Anyone ever did that with luck ?

Ivan
 
I dont think Glyn Johns' will work for this stuff. It is kinda Pop-rockish with a 90s vibe and I think Glyn Johns is too 'all over the place'. Great for Jazz, blues, acoustic stuff, samba, bossa nova..but for stuff with distorted guitars, i find it is meh.
 
I dont think Glyn Johns' will work for this stuff. It is kinda Pop-rockish with a 90s vibe and I think Glyn Johns is too 'all over the place'. Great for Jazz, blues, acoustic stuff, samba, bossa nova..but for stuff with distorted guitars, i find it is meh.

the rolling stones
the beatles
eric clapton
the who
the clash

*all have employed this technique

this is a massive tone... engineered for the rock genre.

i don't know if you have ever actually heard the results but i believe it goes beyond jazz & blues.
 
Close mic the cymbals and hang a mic a few feet above the drummers head pointing down for a mono overhead to glue it all together. As long as you obey the 3:1 rule phase won't be an issue
 
the rolling stones
the beatles
eric clapton
the who
the clash

*all have employed this technique

this is a massive tone... engineered for the rock genre.

i don't know if you have ever actually heard the results but i believe it goes beyond jazz & blues.

I've used it many times and for rock, I don't like how it sounds. I prefer spaced pair for anything from pop to metal. For this method, the drummers needs to be very balanced, and that is rare for me. But is a great method nonetheless.