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Overhead Micing

Discussion in 'Room & Overhead' started by Big_D, Aug 25, 2004.

  1. Big_D

    Big_D Well-Known Member

    I'm lost! I'm hoping someone can help me with this. I keep seeing the term X/Y micing configuration but can't seem to find an explanation of it in the posts. I'm assuming it refers to the position of the mics relative to each other, or is it the position of the booms? I am micing my cymbals with 2 overheads and close micing the drums. If someone could explain the X/Y setup or direct me to where I can find an explanation of it that would be great. Any pointers on good starting placement of mics on cymbals would be helpful. My ears can help me from there. Thanks
  2. gomp

    gomp Guest


    Hello Big D,
    try this one: http://www.humbuckermusic.com/acguitrectec.html
    it's not about cymbals but akoestic guitar but explains the technique quite well.
  3. gomp

    gomp Guest


    What might be interesting as well: there was a topic in this forum with the name "overhead phase", with the famous "Recorderman drum micing technique" as it was called afterwards. He doesn't mic the cymbals seperately but uses the overheads. Check that one out!
  4. Big_D

    Big_D Well-Known Member

    Thanks Gomp, Thanks for your posts. They were both a huge help. I got a chance to try Recordermans setup and I got decent results pretty quickly. I need to spend more time refineing it but I've got the basics. I think I'll try the X/Y on some accoustic insturments soon. Both of these were very clear and answered my questions completely. Thanks again
  5. TanTan

    TanTan Distinguished Member

    For me x\y is almost always the best technique for overheades, i'm placing them at the center , then i'm explaining to the drummer (here comes the shrink part) why he should spread his drums , and when the drums seems to be as symetric as possible i'm going back to the control room and asking him to play the cymbals from right to left and back with the same dynamic that's the best way to chek out stereo image i'm moving the mics till it sounding 100% equal (in the control room when the overhead channels are paned hard left and right), a\b miking for overheads can sometimes flatter more part of the cymbals i'm not using close mics for, but the image is not as good , and in many cases there's phase cancelations which making the mixing part harder, i'm doing the same with foh works on overheads
  6. Big_D

    Big_D Well-Known Member

    Thanks Tan Tan, another technique I'll have to try.

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