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which cymbol mic?

Discussion in 'Recording' started by anonymous, Oct 15, 2004.

  1. anonymous

    anonymous Guests

    I am looking to buy new OH mic's. Anybody have a favorite pair of cymbol mic's? I want to be able to use them in a live setting. I have a pair of large condenser mic's.
    Looking for more of a cymbol mic (rolloff lower freq.) rather than a kit mic (wide range).
  2. johnthemiracle

    johnthemiracle Active Member

    consider schoeps and dap. both are pretty hi-end imo...(of course their price is hi-end too...;-))

    ah, i didn't see the lo-freq rolloff part...are you sure you want to do that? and if yes, why? having the overheads cover the whole spectrum can sound very powerful if you place them right...(and by the way i think that's definitely the way to go...)
  3. anonymous

    anonymous Guests

    Well, Im really tired of trying to hear more of the cymbols, and when I turn up the tracks for the overheads I get just as much kit as i do cymbols. really, really tired of that
  4. LittleDogAudio

    LittleDogAudio Active Member

    Hey itga,
    Why couldn't you just roll-off the low-end during playback?
    I think it's a much better idea to capture all the frequencies during recording and tailor the tones after.

    If budget is liberal, I'd recommend Neumann km184's. They can also be used quite nicely on acoustic guitar and similar sources.

    I have to say again, check out the AKG 535's. Similar sound to the Km184 at a fraction of the $$$.

    Hope this helps,
  5. Randyman...

    Randyman... Well-Known Member

    Is that the right AKG model #? I thought the AKG-535 was a hand-held live VOX mic? Was it maybe the AKG 451B, or is the 535 really a killer OH mic? I'll be in the market to upgrade my C2000B's soon, and the 451B's at ~ $900 a pair seems like a hella-bargain...

    I'll check out the 535's, too (they have a prescence boost that may flatter "dark" cymbals).

    Toss in an Omni room mic, and track til the cows come home :)

  6. johnthemiracle

    johnthemiracle Active Member

    by pointing your mics at the cymbals and getting as close as it still sounds good you'll get as much cymbals as you'll get with any mic. everything else is playing with the eq, mics that tend to give you more cymbals do nothing else: they have a bump in the frequency range in the hi end...and that's what you can do if you don't hear enough cymbals: crank the hi end according to taste. there's more hi freq content in the cymbals than in any other instrument in the set (you'll have to listen to the snare, though) so this will mostly affect the cymbals. however if the mics are set up well it shouldn't be necessary to do that excessively imo, maybe a little to brighten it up and have the cymbals better cut through the mix.

    depending on your eq and whether you need the low and mid freq content of your oh's it might also be a solution to roll off the low end and maybe even the midrange with a low q filter. this will likely have a similar effect to cranking the high end, but might sound better (depending on the eq used)

    to give you another point of view...i'm usually very happy when i can capture the whole set w/ the overheads, this helps the sound of the set a lot, at least as long as you want it to sound like a real drumset. if the set sounds right in the oh's already all you need is the additional punch of the close mics, and maybe the different sound if you want it (also depending on the style of music you are making...). you can then play with the additional mics more freely because it already sounds right...but that's just my pov...
  7. LittleDogAudio

    LittleDogAudio Active Member

    Yeah, funny enough, the 535 is marketed as a live vox mic, but that's the beauty as to the price. Everyone has thier opinion on which mics sound good and that's just what this is, My opinion.

    I've found this mic an exceptional overhead as well as acoustic guitar mic. I don't think theres actually a high boost on the mic, unless it's a newer version.

    The ones I own have pad and low cut.

  8. Kurt Foster

    Kurt Foster Distinguished Member

    What I don't understand is ....

    This is contrary to almost all I have ever head from anyone.. that is to say, most of my expierences have been with recordists trying to turn cymbals down ... gating or drawing them out of kick / snare / tom tracks ... not trying to get them louder ...

    Take a listen to commercially produced CD and records .. you will find for the most part, the cymbals are usually mixed in a a fairly low level, not up front.
  9. anonymous

    anonymous Guests

    keep it simple...2 questions

    I was trying to get keep it simple, but here goes. I do understand that I can roll off any freq. that I want to in the mix down. I have had times when a drummer or myself want to turn up the mix on the overheads to hear little things...like the drummers perfection or lack there of. Keep in mind---I will be recording in live situations!!!! NOT in an ideal situation....
    Apon doing so, sometimes the snare gets louder with the cymbals (while doing this). And sometimes I want a tight drum sound, not a loose fat roomy sound. And I dont want to re-EQ the over heads (that already sound great mixed the way they are) until I start fuckin with them to knock out all the other crap like guitar bleed over and other things that get recorded, just to knock out this sound or the low end. In addition sometimes I dont want to much of the room sound in the mix(because is may be somewhere small, or not ideal) which is what happens without rolling off the freq.And yes, I do understand that most "commercially produced CD's and records" do not have LOUD up front cymbals.
    But I dont own a record player anyhow. Sorry Kurt! :)
    My real point is....I just want to know who uses what, and how happy are they with what they use. Im looking to buy a set of overheads that I can add to my Audix DP5 drum mic kit. This kit has everything except overhead mics?
    Thanks for all the replys
    Two questions...
    1) your favorite OH mic?
    2) how happy you are with it?
  10. Kurt Foster

    Kurt Foster Distinguished Member

    I use 5 different type of mics for OHs ... and not because they are the best but because they are what I have available ...

    AKG 460's (now monikered 480's) ... very full sounding ... lots of warmth ..

    Vintage AKG 451's (not the reissues. There's a big difference) ... I have several variants of this mic ... I use them on OHs hats or as a ride cymbal spot mic ...

    Audio Technica 4033's ... mid sized (3/4") diaphragm mics ... pick up more of the over all kit ... and usually a bit warmer sounding than the sd's ...

    Audio Technica ATM 11's I have 3 of these omni mics ... great for overheads if the room sounds good ...

    Studio Projects C4 matched pair ... because they are matched ! :mrgreen: and because they sound pretty good ... A good bang for the buck mic.
  11. anonymous

    anonymous Guests

    Thanks Kurt!
    I just got finished reading your review, on the Studio Projects B1, C3, and C4.
    I think I might be leaning toward those.
  12. heyman

    heyman Guest

    I like and use Royer R-122 's (matched Pair) for overheads
  13. djui5

    djui5 Guest

    I like........

    B&K 4011's
    AT 4051's
    AT 4050's
    AKG 414's (sometimes...)
    Just about any high end LD mic would work......

    My fav sd is the 4011's...but lately I've been using 4050's a lot..
  14. BetaMonkey

    BetaMonkey Active Member

    Cymal Mics

    We recently picked up a pair of Oktava MC012's to use for overheads. Really like them as they pick up the "sizzle" really well. They are smooth highs and are doing a great job for the price (they can be had for like $99 a mic)!

    Of course, you have roll off the low-end to keep the cymbal sound focused and crisp.

    Don't know if any one has tried those but I have to say (for now) they are the go-to mic for the overheads.



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