We suggest keeping it simple with just one mic if you are kick-starting your drum recording in hopes of the best results. Make sure to invest in a drum mic and you’re all good to go. The black plate featured on this studio microphone carries the fixed charge and stabilizes the energy. Because of its omnidirectional characteristic, this microphone can be moved to different directions depending on your position as you beat the drum. By using this microphone in your studio, you can record your vocals and acoustic instruments clearly with high precision. The low frequency of this microphone avoids the background sound distractions and vibrations to record the natural sound of instruments. Phase cancellation is a huge issue in drum recording. Also with drum overheads for it to sound like the drummer hears it, BOTH the kick and the snare need to be considered as the centre of the overheads as they are normally the only instruments placed in the middle of the mix and if you just place them equidistant from the snare it will be off center. 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. George Massenburg agrees: “Most engineers put the overheads in exactly the wrong place. 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. This is often referred to as stereo imaging. There also some “wrong” ways which, while they might sound good (and if it sounds good then it probably is good) strictly speaking are not “stereo”. 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? Using these overhead drum mics the sound will be indistinct and thoroughly mixed if the coordination is not cared for. If you have a great sounding kit in a good sounding room then I’d suggest capturing the sound faithfully, would be a priority. If not, we hear anything from a poorly defined “stereoness” all the way through to hearing two speakers both sides of us, rather than a continuous panorama between them. This Audio-Technica microphone is the best overhead drum mics ideal for the studio use because it has extended frequency response that records sound with smoothness. On the other hand, most of the speakers have praised this microphone for its durability and high-frequency response. No Phase Issues With Overheads. For many people, opinions on where to put mics is based on what they have seen and in a live sound situation mics are often put up in precisely this position. This stereo set condenser microphone is based on the company’s KM series mics that are versatile in use. Assuming you want the kick and snare in the centre of your mix then the centre line of a drum kit runs through them. We Show You The Difference, 21 Snare Drum Dampening Tricks - Hear Different Ways To Instantly Fix Drum Ring Before Recording, Drum Mixing Tips - Try These Fundamental EQ Starting Points To Help You Focus The Sound Of Your Drums Fast. Drums are generally tricky to both record and mix. Stereo capture uses an array of mics (usually a pair) placed in a specific arrangement to create a convincing reproduction of the left to right placement of sources around that array. 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! Here are some of our top picks of the best drum mics you can use as overheads. There is a lot of common ground between recording and live sound but there’s a great deal that’s different. What you’ll see, if you play with it, is that to maintain an SRA of 90º with spaced parallel mics you need a spacing of 72cm. Many young engineers, and some old engineers too, think that stereo miking of a set starts with mics left and right over the cymbal positions. Overhead mics guarantee that your stereo picture is as exact as you expect it under controlled circumstances, so you don’t run into phase issues during altering and blending. Studio recording can be genuinely confusing when you don’t have the correct equipment. 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. If you want to know how changes to your mic placement or polar pattern affects the SRA of the array we recommend using Neumann’s FREE Recording Tools App. Shure KSM137 This stereo condenser microphone is specially designed for studio purposes, but … Even though it is a miniature overhead drum mic, but due to its high-quality construction, it is strong enough to be a part of every musical instrument. Unlike other microphones, this mic has an LED audio peak holder to pick up the beats accurately. Depending on how the mics are set, we will capture only level differences (e.g. Drum overheads are the part of drum kit utilized in live sound recording to get surrounding sounds and the general mix of instruments recorded better. 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? My feeling it that they’re not listening. Specific changes in mic setup will affect the presentation of sounds arriving from different angles and how and from where they appear in the panorama when played back over loudspeakers. Trusted content from independent music and post production experts. Don't think of them as cymbal mics, but more as "everything" mics. Professional drummers who have used this mic have given five stars to this product as it provides both high and low ends without any distortion. are level and timing. The term used to describe this is the SRA or Stereo Recording Angle. If you are looking forward to some guidance in this aspect, here’s all that you need to know. Our brains interpret sounds arriving from two speakers as coming from between them if the positional cues match what we would expect to hear if the sound were actually coming from that position. The overheads are the unifying element in any drum sound. 140 dB … This does introduce possibly the biggest factor to this subject, which is that usually these mics are being used in combination with close mics on the kit and the “everything out to the sides” sound these overheads will create, don’t leave us with a hole in the middle of the kit because that hole is amply filled by the close mics - Maybe people do it this way because the stereo image doesn’t matter if you’re constructing it from close mics and just want a “stereo-ey” haze of cymbals around your close mics. Overheads/Cymbal EQ Tips. Copyright (C) 2020, http://www.pro-tools-expert.com/default-image.jpg, Plug-in Subscription Plans - Free Calculator, 6 Things You Must Do If You Want Your Beats To Hit The Mark, Drum Replacement Techniques With Fab Dupont - Free pureMix Video Extract, Audition Classic And Vintage Mics On Drum Recordings, Recording Drums At Home - Steve DeMott's Basement Tapes, Processing Drums For A Natural Sound With The Help Of Sonnox, Before You Choose A Drum Sound Read This History Of Drum Recording, Want Classic Drum Sounds Using A Virtual Instrument? This classic microphone is a huge issue in drum recording the music without any background sound interruption that ’... Correctly, the overheads are does sound appear to come from between the speakers when there is no there. Securely in place whilst recording can start your drum mix with the basic... Agree about the live overhead placement going on to know, to face the snare off. 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