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Stereo overheads and stereo rooms

Discussion in 'Room & Overhead' started by tedcrop, Sep 8, 2005.

  1. tedcrop

    tedcrop Guest

    Any one using stereo overheads and stereo room mics? If so what mics and patterns are you using? And what are you doing to combat phase and delay issues?
  2. Angstaroo

    Angstaroo Active Member

    Jul 1, 2005
    DeKalb, IL
    Home Page:
    I use stereo overheads, but not stereo room mics. What do I do to combat phase? I listen -really- carefully in the headphones :) I never set up a specific pattern, or use some specific formula, because no two drummers ever set their kit up the same way.. and if I used the same mic placement, sometimes the right channel would louder, sometimes the left.. sometimes it would be nothing but hi-hat, or the snare wouldn't be centered while the cymbals are. I try and set my overheads up the best I can by eye, then I put the headphones on, have the drummer play while I record, and make any adjustments that need to be made.

    As for stereo room miking, I stumbled across this interview with Jeff Porcaro in DRUM! magazine where they mention his studio setup, including room mikes. Here's the link, and here's a quote:

    Jeff Porcaro's last interview

    "10:40 A.M. After tuning the kit, Matt and Paul depart and the engineers from A&M begin placing microphones. The selection includes an AKG D12 and a Neumann 47FET on the bass drum, AKG 414's on the toms, a Shure SM57 on the top of the snare and a Sennheiser 441 on the bottom, a 452-10 condenser on the hi-hat, and six AKG C12's as overheads--two directly over the kit, two approximately six feet in front of the kit, and another two at approximately 12 feet in front."
  3. rudedogg

    rudedogg Guest

    I use stereo overheads and stereo rooms. for stereo room mics, I always use x-y setup on the rooms to keep from having to worry about phase, and for the overheads, i use a modified version of recorderman's method. i sit at the drum throne, and check out the kit, and put the overheads in a way to best compliment the kit and get a good picture of it. in rock music the overheads are usually acting as cymbal mics, and not getting much of the whole kit. that is why the room mics are a must to get a more 3d view of the kit.

    i haven't had a problem with phase between the overheads and the rooms ever. you just listen and if it sounds good, it is good. i also eq and or compress both the rooms and the OHs to get the sound right.

    as far as phase is concerned, it is not always a bad thing. sometimes phase does eq work for you. you just have to listen to what you are recording, and see if it sounds good. the only thing i really phase align any more is kick IN, and kick OUT. you can get some weird phase problems and you do NOT want to ever lose your kick in the mix.

    as far as mics, i usually use LD condensers on overheads, and SD condensers on rooms. the actual mics depend on what the studio has that i am working at. usually 414s on OH, and whatever SD condensers are around on rooms. i've even used some sm58s for rooms, and it ended up sounding great. you just need a good sounding room. also, i usually roll-off the bass at 75 or 150 on the OHs.


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