It would not be wrong to say that after using this microphone in the studio, you will feel a sense of satisfaction because the sound quality of this mic contributes to the quality of your acoustic recordings. With this method, you can start your drum mix with the overhead sound. This microphone is unique in itself because of its appropriate sound rand and frequency. So what is happening here? Sturdy because of good-quality manufacturing, High beats can be fricative with this mic. Multi-pattern mics are more expensive and fixed omnis are more unusual - pretty much everyone has a pair of cardioid condensers so it’s no surprise that, while omnis might arguably be a better choice for spaced pairs, if you only have cardioids, you’re going to use cardioids! Less than 51cm and the SRA rises over 180º, meaning at typical distances the kit will sound narrow on playback (which might be a good thing, drumkits aren’t 30 feet wide after all). If that is the case then that’s fair enough, though the examples I’m thinking of have tended to try to cover the whole kit and are even sometimes used in addition to a close mic on the ride. I'm looking at buying a pair of drum overheads as an upgrade to the AKG C451s I've had for a couple of years. If placed correctly, the overheads will capture the entire drum kit, in phase and with the same basic frequency balance and tone. If so why do you use it? This product has been praised a lot among its customers because of the sound-quality, but contrary to our experience, some users think this product is not really suitable for live performance because at certain times, it creates buzz. No Phase Issues With Overheads. These include time of arrival differences to our ears, very specific timbral differences and level differences, which combine to create an approximation of the information the listener would use to interpret where a sound was coming from if they were actually there. Using too many mics can lead to a very non-punchy sound. Overheads are the most important components of an acoustic drum recording. However something which is so often overlooked is the centre line of the kit. If the mics are as close as possible we get XY, with the mutual angle between the mics and the polar pattern being the things that affect the SRA. A good example is the various “pseudo-stereo” two mic techniques often used to capture acoustic guitars. Rode M5 Overhead Mics. The overheads are the unifying element in any drum sound. Then you can add the other drums to the overheads to enhance an already great sound from the drum-kit. One thing that the drummers have not found admiring in this product is its low-quality speaker. If you are looking for a mic that can be moved to different directions, then this stereo mic is perfect because it is multi-directional. How does sound appear to come from between the speakers when there is no speaker there? Since the drum set is essentially a mixture of different instruments, capturing each of their unique sounds as accurately as possible is a challenge. I ask because this is something I see a lot and I’ve never understood it. Because of its high-quality sound production, this mic is considered as one of the best overhead drum mics. The biggest problem with stereo miking drum overheads is dealing phase issues. Trusted content from independent music and post production experts. This is an exact science and can get complicated. It’s a good question and one we probably don’t consider closely enough. George Massenburg agrees: “Most engineers put the overheads in exactly the wrong place. A coincident array works because the centre of the stereo image is off axis by the same amount for both mics and as sounds move away from the centre they move into the most sensitive axis for one mic while moving further into an area of reduced sensitivity for the other. Via solidariat Flickr. This classic microphone is made up of high-quality material that ensures its long-term durability and working capacity. Thus, the mic will capture the sounds made by the drum from above, allowing the player to deliver his performance without any impediments. It’s all about where things appear between the speakers, so why do so many people set their overheads either side of the kick drum? Don't think of them as cymbal mics, but more as "everything" mics. You can take any two different signals, pan them left and right and call the results “stereo” but this isn’t really stereo, it is twin track, two channel playback. are level and timing. AB or Decca tree) or a combination of them both (e.g. This stereo set condenser microphone is based on the company’s KM series mics that are versatile in use. We’ll look the issue of placing overheads like they do in live sound in the next paragraph, but what about the centre line Mike? One thing I know for sure is that if you ask five engineers how to set overheads over a drum kit you’re probably going to get at least five different answers! Anything that ‘works’ is fine but I do return to my question - Why do people use spaced cardioids on drums? Another suggestion is that cardioid mics are the default. If however, you’re recording in a small, domestic space (and plenty of people are) then you probably want to favour close mics and get the rest of the sound of the kit with as little ‘room sound’ as possible because of your, less than ideal, room. There are rules about this, though these are often misinterpreted as the only way to do stereo - they aren’t, but they are good ways and they are codified so as to be repeatable. Using overhead drum mics for drums can be somewhat critical for new and novice drummers. So what kind of stereo array are overheads consisting of a pair of cardioids 5 feet apart angled in, to face the snare? Because in this example the mics are parallel the polar response isn’t very significant. Stereo relies on the creation of a convincing phantom centre image. So where does this spaced cardioids facing inwards thing come from? Assuming you want the kick and snare in the centre of your mix then the centre line of a drum kit runs through them. It is an ideal mic for all the professional drummers out here as it is a low-self noise mic that provides clear and transparent sound without any sound distortion. But with one mic, balancing becomes easier as it allows you to make quick compositions resulting in incredible sound. Friend of the blog Mike Exeter agreed: “I agree about the live thing - that is a good observation. On the other hand, some customers have complained about its characteristic to provide low-end sound. To understand how it makes a difference here’s the maths: When there is no time difference between the loudspeaker signals, then a level difference of 15dB between the right (+15dB) and the left (0dB) will move the phantom image all the way to the right. Look at where Omar Hakim’s overheads are. In this case using cardioids for overheads is potentially beneficial, allowing you to mitigate to some extent the influence of the low ceiling you’re probably recording under - a high ceiling is the single best thing you can do for your drum recordings after getting the right player and drums, with mics and preamps coming a long way down the list compared to having a high ceiling. Article Content. Studio recording can be genuinely confusing when you don’t have the correct equipment. This is often referred to as stereo imaging. Behringer C-2 Condenser Microphones Matched Pair. 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