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secondflooreast1 26 January 2011

Just looking to get some opinions about which mics everyone prefers to use for recording drums overhead.

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Davedog Thu, 01/27/2011 - 10:26

Thats a rather broad question. Info like drum kit size, style of music, room, budget, etc. helps.

So heres a list of good to great drum overhead mics. Jeemy has already thrown out 5 sets, the first three are not 'budget' or cheap while the next 2 can be had fairly inexpensively and work well in most cases. Here's more.

Expensive but worth it: Neumann U67, Neumann U87(my fav), Neumann 184/84, (most Neumanns would work quite well), Royer ribbons of any number though the stereo SF24 is superb for this, AKG414, AKG 451, AKG 460/480, Audio Technica 4041/4051, Audio Technica 4033/4050, Shure SM81, Shure KSM141, Shure KSM 32/44, Audix SCX-1....... Theres literally hundreds that will work......

I have found that in the Budget mics (under $300 usd per mic) that ADK A-51 model V's are excellent overheads for an LDC. In a pinch you can use SM57's!

Boswell Thu, 01/27/2011 - 10:30

You don't give an idea of budget, but I'm assuming you are not talking about really expensive mics.

At the upper end of the budget category, the Rode NT55MP set (a matched pair of NT55s) works well as overheads. They can give better results than NT5s in this application because of the pad switch, and you also get additional omni capsules which are useful for other jobs.

Jeemy's selection of higher-end mics would, of course, give even better results, but you do have to be careful to consider the mics together with the pre-amps when selecting for drum overheads. The higher up the price scale you go, the more important it is to get this pairing right to produce the sound you want.

The other factor to take into account is the acoustic recording environment, as this can have a greater influence than changing from medium-price mics to expensive ones.

Ty Ford Tue, 12/25/2012 - 16:18

2ndfl,

Best sound I've gotten so far is from a pair of Schoeps CMC641 in XY. Go [[url=http://[/URL]="http://www.tyford.c…"]HERE[/]="http://www.tyford.c…"]HERE[/] and click on Karyn Oliver's "Oh America." Four mics on the drum kit; one mic in the kick, one on the snare, two Schoeps overhead, mixed mostly with the two Schoeps and filled in with the kick and snare.

Regards,

Ty Ford

anonymous Wed, 12/26/2012 - 06:41

I use a pair of AKG 414 EB's, usually set up in a coincidental array.

I would agree with Ty that if faced with an input limitation, I would absolutely have no problems using only four mics for a kit...a mic on the kick, a mic on the snare, and a pair of nice mics as overheads, and forgo the individual tom mics, as well as the hi hat mic, which, by the way, I rarely use, anyway.

My standard set up is:

EV RE20 on the kick (not a fan of the D112)
SM57 on the snare
Sennheiser 421's or SM58's on the toms
AKG 414's for OH's.

Most of the time I rely on the OH's to grab the hat. It depends on the player of course, if I'm tracking jazz or something where there is a lot of finesse involved on the hat, occasionally I'll put up an AKG C 1000, but for the most part, I've never found a direct miked hi hat to be anything but harsh and just another hot mic to have to deal with in the mix.

FWIW.

-d.

BassLiK Thu, 12/27/2012 - 18:31

Ty Ford, post: 398204 wrote: 2ndfl,

Best sound I've gotten so far is from a pair of Schoeps CMC641 in XY. Go [[url=http://[/URL]="http://www.tyford.c…"]HERE[/]="http://www.tyford.c…"]HERE[/] and click on Karyn Oliver's "Oh America." Four mics on the drum kit; one mic in the kick, one on the snare, two Schoeps overhead, mixed mostly with the two Schoeps and filled in with the kick and snare.

Regards,

Ty Ford

Ty is it just me or the sound file?, the tune is great but the kick drum sounds more like a CAJON ?

BassLiK Sat, 12/29/2012 - 17:50

Ty Ford, post: 398326 wrote: Meow!

Actually, the drummer was very impressed.

Regards,

Ty Ford

Listened over and over on my Neumann KH120's, yamaha NS10's and my Genelecs, and I'm impressed with the music and production as well, but the kick doesn't sound like a kick at all?, that's why I asked if it was the sound file, or maybe the MP3. Anyone hearing the same thing?, time to check my sound card in my computer (LOL)

audiokid Sat, 12/29/2012 - 20:36

From a mixing POV, I'm with BassLik. I'm not sure what to say because the mix is a bit out of sorts. No disrespect to Ty but the Vox is to loud, a bit wooly and the drums are buried? The bass is not balanced as good as it could be so I'm distracted trying to appreciate what you are pointing out as an impressive drum overhead example? Love the brass though and musically its very nice.

This is an old thread but fun just the same ( love opening up old threads!) so I'll give my two cents. But no budget leaves this wide open.

I have a Royer SF-24 that excels for overhead, choirs and open spaces like this. That is one of the last mic's I will ever part with.

A matched pair of DPA 4006 or 4011 would also rock as well as a few Mojave MA 100's (Stereo kit) or a pair of MA 200s which might also be sweet. All three of the SDC have interchangeable caps so I tend to like things are can be useful for more than one area. But, strap a Bricasti M7 on the overhead bus and everything starts sounding great!
But an SF-24 is wonderful, can't go wrong there.

There are so many options indeed! but I vote either a SF12 or SF24 or SF24V and a Bricasti.
I've heard the [[url=http://[/URL]="http://www.manley.c…"]Manley Ref[/]="http://www.manley.c…"]Manley Ref[/] are incredible for overheads.

BassLiK, I have a pair of KH120 and really like them! Those monitors are more special than first impression would lead you to think. Great mids eh?

Ty Ford Sun, 12/30/2012 - 13:32

Hmm, what to say.

Do you two do much singer/songwriter or country mixing? They like the vocals UP FRONT. Singer-songwriters especially; because they have something to say and their voice is the main instrument. It's not like I had to beat them over the head and force these mixes on them.

Mixing varies by genre. I had a friend send me his CD for comments a few years back. My comment was, "Mixed by the bass player over small speakers."

He said, "Yes. How the O@U#@)U#@ did you know that! I replied that when I put it up on my monitors the couch in my studio began to move around.

If you two don't like the mix, I'm fine with that. :)

Regards,

Ty Ford

BassLiK Sun, 12/30/2012 - 13:40

audiokid, post: 398348 wrote: From a mixing POV, I'm with BassLik. I'm not sure what to say because the mix is a bit out of sorts. No disrespect to Ty but the Vox is to loud, a bit wooly and the drums are buried? The bass is not balanced as good as it could be so I'm distracted trying to appreciate what you are pointing out as an impressive drum overhead example? Love the brass though and musically its very nice.

This is an old thread but fun just the same ( love opening up old threads!) so I'll give my two cents. But no budget leaves this wide open.

I have a Royer SF-24 that excels for overhead, choirs and open spaces like this. That is one of the last mic's I will ever part with.

A matched pair of DPA 4006 or 4011 would also rock as well as a few Mojave MA 100's (Stereo kit) or a pair of MA 200s which might also be sweet. All three of the SDC have interchangeable caps so I tend to like things are can be useful for more than one area. But, strap a Bricasti M7 on the overhead bus and everything starts sounding great!
But an SF-24 is wonderful, can't go wrong there.

Ty it's a known fact that are pretty sure both audiokid & i know that most of, if not all music from the beginning had the vocal up loud and proud since that's what was show casing in the roaring 20's-50's, thus the compressors were stolen from radio n stations (LOL).

There are so many options indeed! but I vote either a SF12 or SF24 or SF24V and a Bricasti.
I've heard the [[url=http://[/URL]="http://www.manley.c…"]Manley Ref[/]="http://www.manley.c…"]Manley Ref[/] are incredible for overheads.

BassLiK, I have a pair of KH120 and really like them! Those monitors are more special than first impression would lead you to think. Great mids eh?

Hi audiokid,

HEY MANY THANKS ON THE 120'S, can't thank you enough for the advice !!, I love those monitors, for rap clients I will play through my Even 20/20s though, just so they can feel the bass, which the 120's is stretching in that department.

I also noticed the vocals loud, but also the dynamics on the vox up and down too, wooly for sure, proximity?, of course the subject was drum overheads, and what I can assume is that the overheads are not being used as a full range for the kit recording , cause I actually hear the toms sound deeper and rounder than the kick, TY, am I right that the overheads were hi-passed just for cymbals?, and separate mics were used for toms?. I been starting to use overheads as a full range drum recording nowadays, instead of the traditional hi-pass just for cymbals. they sound more life like.
The reason I ask cause the toms sound round and deep but the kick sound like a CAJON, a more cardboard sound?, what do you think audiokid?, this is cool to share analogies I think.

Man I though I had some great news to share but after audiokid says he has the briscati, I'm humbled (LOL).

Anyway I bought a lexicon PCM90 for $350 yesterday, I guess the deal was worth noting.

Ty I'm aware of the fact that all songs from the 20's to 50's were heavy loaded and showcased the vocals and music was merely vague in the background, thus, the compressors were born and stolen from radion stations. So yes 99.9% of my clients sing and are songwriters. I was inquiring about the cajon thingee, I actually though it was a cajon cause I been recording acoustics artist with cajons lately in the past three years.

I like the song, and it doesn't matter who likes the mix, as long as the paying customer likes it what matters really.

audiokid Sun, 12/30/2012 - 13:51

Ty Ford, post: 398361 wrote: Hmm, what to say.

Do you two do much singer/songwriter or country mixing? They like the vocals UP FRONT. Singer-songwriters especially; because they have something to say and their voice is the main instrument. It's not like I had to beat them over the head and force these mixes on them.

Mixing varies by genre. I had a friend send me his CD for comments a few years back. My comment was, "Mixed by the bass player over small speakers."

He said, "Yes. How the O@U#@)U#@ did you know that! I replied that when I put it up on my monitors the couch in my studio began to move around.

If you two don't like the mix, I'm fine with that.

Regards,

Ty Ford

Sorry Ty, I didn't mean, or hope I didn't offend you? Musically its very nice and I was only giving you constructive pointers as I would also expect from my peers back. Whether you or I trust each other entirely, from song to song, is up to each of us. We can take it constructively or question as you are by asking me what my experience is with Country music. That's all we have to go on everytime we read an opinion.
You are linking to tracks as examples of gear you use and how you do it, so you are opening yourself up to debate / comments / opinions, yes? Welcome to my brassy no BS edge. Been doing this way too long to spend pretending or candy coating. I'm not here to look for friends ( although I do love the ones I have!) or sell crap gear or advise. I stand corrected more than once. Its all about sound to me, nothing more. Each to his own.

I actually have a lot of experience in Country/Western/Rock music and more. I sang quite a bit of Hank Williams 30 years ago in a Western Band. We were quite popular, but so was Country music back then.
Not that it matters but you asked. The Leader of the Band I learned from back then, toured around with Roy Orbison and even some Conway Twitty before the two of us got hooked up, musically that is :). So he had some great pointers to share and I listened! My mother was also a Metropolitan Opera singer. Names like Danny Kaye, Robert Goulet, Jimmy Durante, were part of our music circle. What does this mean, nothing... just blowing some wind back at you for fun.
I definitely know something about singing though. Most of what I learned back then is really about the business that still applies for me today, IMHO of course.
But I also love Rock, Blues, Pop etc. Love Pop music. Its all about vocals or should be.

Never the less, I didn't hear what you were pointing out with the overheads. I can't hear the drums very well and the lead vocal is definitely not sitting well in the mix. While I'm waiting for a new project to start, I'd be glad to remix it for you, for fun that is.

audiokid Sun, 12/30/2012 - 14:07

BassLiK, post: 398362 wrote: Hi audiokid,

HEY MANY THANKS ON THE 120'S, can't thank you enough for the advice !!, I love those monitors, for rap clients I will play through my Even 20/20s though, just so they can feel the bass, which the 120's is stretching in that department.

I also noticed the vocals loud, but also the dynamics on the vox up and down too, wooly for sure, proximity?, of course the subject was drum overheads, and what I can assume is that the overheads are not being used as a full range for the kit recording , cause I actually hear the toms sound deeper and rounder than the kick, TY, am I right that the overheads were hi-passed just for cymbals?, and separate mics were used for toms?. I been starting to use overheads as a full range drum recording nowadays, instead of the traditional hi-pass just for cymbals. they sound more life like.
The reason I ask cause the toms sound round and deep but the kick sound like a CAJON, a more cardboard sound?, what do you think audiokid?, this is cool to share analogies I think.

Man I though I had some great news to share but after audiokid says he has the briscati, I'm humbled (LOL).

Anyway I bought a lexicon PCM90 for $350 yesterday, I guess the deal was worth noting.

Ya, right, I forgot we talked about those until just now!

I bought a sub for them, but only use it for fun. I've found mixing with those take a bit of getting used to, but after a ten min run, I get the mids right on! They don't sound that great but I think this is the magic about them. They are real, no BS!

Proximity is definitely an issue with Ty's Vox example. Spot on.

I'm planning on getting a second Bricasti. Its simply WOW! It can open a crappy room up like I've never experienced. Every week I use one, I learn more about what I don't need.

The Kick is just gone, just not there enough to my taste. Remix it is my opinion.

I created the "new" Track Talk forum for this very reason. 13 years doing this here, the best education I've gotten has been sharing my tracks and helping others with their mixes (win win) and then talking about it openly. Like it or not :) , its not easy accepting criticism so we all need thick skin indeed, including myself. I've had to ban a few members because they turned ugly and got ego in the way.
FWIW, I'm not in this business to be stroked or to stroke others either. The clock is ticking in my life, I'm here only to improve. I want to be proud of one mix before I leave this world. Its getting closer but I'm still not there.

For the last two years I have been paying extra attention to monitoring and studying the comments from people who like or dislike a certain sounds per-say.

My conclusion: Monitors are everything.
If you aren't hearing it accurately, its really hard to be accurate in everything you discuss with others. Big topic. I also think most (professional engineers) would end up with very similar or mutually acceptable mixes if we were all mixing in the same room.

So, I've invested in a pretty decent monitoring system. If you don't like my mix, its definitely because of me, not my room, monitors or the "main" chain to how I process what I hear. And surprisingly enough, that makes me confident in what I say plus its much easier to get past my stupid human ego when I get schooled. This helps me make better choices on gear I don't need and easier accepting advise from the right people with similar interests. Less guessing all round!

Example, you and I know it is proximity. We also don't hear the kick. Two very close opinions share the same. I trust you more than I would someone that says they hear the kick.
Why? If they hear that kick, my guess is their room is pushing exaggerated low end on this one. Something is hindering the monitoring in Ty's room. Has to be.

I'd love to have a PCM90!

BassLiK Sun, 12/30/2012 - 15:29

I'm still a noob and I truly rely on pros like you to kick me a bone, and it sure pays off cause I will take advantage of it and make the suggested changes before I let the client hear it and (POW), THEY ARE STOKED.

I also listened to other tracks on Ty's site and I hear the same thing from the kick drum on other tunes?, I agree it has to be his room too.

I'm looking to get the new UA Apollo with the quad processor audiokid, it will big a big improvement over my digi003 for sure, not to mention to be able to insert while tracking 1176's (WHEW), I'm salavating here.

audiokid Sun, 12/30/2012 - 15:54

We are only as good as our last mix. My last one was pretty good but I was using previously smashed stems. If we could all start with the perfect recording in the perfect room, wow.

cool, I'm excited to read your comments on it. Maybe even post some tracks one day? !! Have you watched any of the tutorials from Fab Dupont ( [[url=http://[/URL]="http://www.puremix…"]OTHERING - pureMix Online Tutorials: Mixing, Recording, Producing Audio and Music[/]="http://www.puremix…"]OTHERING - pureMix Online Tutorials: Mixing, Recording, Producing Audio and Music[/] ) there are some free ones in there that are great. He's using the Apollo a lot now.
We have a few members here that just got one. No one has shared any info though.

BassLiK Sun, 12/30/2012 - 16:45

audiokid, post: 398367 wrote: We are only as good as our last mix. My last one was pretty good but I was using previously smashed stems. If we could all start with the perfect recording in the perfect room, wow.

cool, I'm excited to read your comments on it. Maybe even post some tracks one day? !! Have you watched any of the tutorials from Fab Dupont ( [[url=http://[/URL]="http://www.puremix…"]OTHERING - pureMix Online Tutorials: Mixing, Recording, Producing Audio and Music[/]="http://www.puremix…"]OTHERING - pureMix Online Tutorials: Mixing, Recording, Producing Audio and Music[/] ) there are some free ones in there that are great. He's using the Apollo a lot now.
We have a few members here that just got one. No one has shared any info though.

Yea I've seen most videos, I actually got to mess with one last Sunday at a friends studio who bought one and I was blown away. We did a importu improv just to hear back what it sounded like and I will post it when he sends it to me. HAPPY NEW YEAR EVERYONE

tifftunes Sun, 01/27/2013 - 15:36

My favorite kit OH mics are:

EV RE200 (single OH or in pairs - placement is another story!)
Neumann TLM193 (again single or paired)
Shure KSM44 (single or pairs)

There are many far less expensive microphones (condenser and non) that will give great results! It has more to do with the placement, room, and most of all the talent being recorded.

There really aren't any mics that sound bad when the talent is good!

RemyRAD Tue, 01/29/2013 - 10:46

Mile everybody is expressing their favorite brands of microphones... I'm only going to talk about the different types. And reasons that might influence your decisions?

In nice acoustic surroundings, every microphone sounds good. Different acoustics and different surroundings require different microphone choices. Small capsule condenser microphones sound much better where acoustics are less than perfect. Whatever acoustic aberrations exist are generally multiplied the larger the condenser capsule gets. Large diaphragm condenser microphones all have miserable off axis response and sound. Making some of the best microphones truly horrible sounding. So small diaphragm condenser microphones, regardless of cost or quality, are a solid choice.

So too are ribbon microphones. While they have a beautiful smooth warm sound with a slightly rolled off high-end, they are much faster and more accurate. They work on the velocity of the sound and not the pressure. Completely different concept from any other microphone technologies, of which, professionally, we generally use, only dynamic microphones and condenser microphones along with ribbon microphones. We don't use carbon anymore and early will use a crystal microphone pick-up perhaps for harmonica? Or FBI laser microphones. Though we do use a lot of scientific test calibration microphones in music applications which are all generally small diaphragm permanently polarized condenser microphones. And ribbon microphones are inherently extremely fragile. You'd never want to take them outside nor ever blow into them directly. They get killed real easy that way. Ringo's drum set of the Beatles used a single Cole's ribbon microphone overtop the drum set. And a Neumann 47 (A $7000 microphone today, for an original) on the bass drum. And that was a big no-no back at Abbey Road/EMI that he would have been fired for doing. But because those four mop head guys were doing so well on the charts, they all figured, what the heck? So he wasn't fired for that. But that's all they had lying around the studio back then. And you know how that all ended up sounding? Simply freakin' fabulous. Two microphones. Not many folks do it quite just that way anymore. Instead you use a bunch of cheap 57's and they also sound freakin' fabulous! And that's what you hear on most rock 'n roll recordings you like to listen to.

So actually, even 57's for overheads, work out quite well. They don't quite have the same zing as condenser microphones have but they still have a lot of presence and color and you could still use them as overheads. No big whoop. In fact they may get you closer sounding to that Ringo drum set then would condenser microphones. In fact I can guarantee it.

Watch late-night TV shows and you will see 414's for all of the drum overheads. The 214 it would sound the same and and save you some bucks. It has only a single cardioid polar pattern as opposed to 3-5 different polar patterns that the 414 and other dual diaphragm condenser microphones have the ability to do. But they're not using them that way, when you see them as overheads on the drum set. They're only cardioid then. Again though, that is a better acoustic environment than your average home studio will sound like. So in that respect, the small diaphragm condenser microphones are a no-brainer. Kind of like me. No-brainer. (Brain surgery seven years ago)

I like my SM-81 SHURE's or my Neumann 86's, my former 84's, AKG 451 (with the -20 DB screw on pads), in tight compromised acoustical spaces. Those are all small diaphragm condenser microphones.

When I have the cubic footage, 414's, 87's, 67's were acoustics get a chance to get up and walk around a bit. Which are large diaphragm condenser microphones.

In other specialized applications and different musical genres such as jazz or country, I rather like the ribbons. Mine cost $1500-$700 respectively but you can get good Chinese ones starting around $160 each. And they are just a whole different animal altogether sounding than any dynamic or condenser microphones. And in another respect, they are neither ever in phase or out of phase because they are always 90° or 270° different in phase from any dynamic or condenser microphone. And this can work for you in other bad acoustics surroundings. And also because you will generally find ribbon microphones to only be figure of 8 polar patterns or, cardioid. Which are only directional from one direction. Figure of 8 are directional front and back and dead on its sides. So that also provides some reflected acoustic pickup that is actually 180° out of phase from the direction in which the microphone is actually picking up the drum sound. And that works for you differently as well.

So there is no one best to use but there are those that are better to use under certain conditions than that of others. And for which you must understand the differences to get good at this stuff. As said, it takes years and a lot of listening of comparative things. Otherwise, how are you supposed to know what to use?

My specialty is in the capture and live broadcast of musical events under some dreadful acoustical conditions, quite often. Other places and spaces can be magical sounding. Carnegie Hall, the Kennedy Center are places where I have recorded where anything and everything works well.

Bob's charcoal grill and bar ain't going to offer up the same kind of recording procedure. That's for sure. And where the cheap microphones will really shine like the 57's/58's, 421's, D-5 & 6 all that stuff. And the condenser microphones sound like crap. No matter how costly. And I've got to costly ones it don't make no difference. They are bad in those environments. Most of the time. Or you just wouldn't want to get one broken by a wayward flying drumstick? They cost too much. Not the drumsticks! LOL. So sometimes I'll put up those $80 each large diaphragm condenser microphones from China instead of my $3000 + 87's. And I can still get similar results when I want a large diaphragm condenser sound or the acoustics are good. So I really don't mind using the $80 Chinese imitations. They save me money and they do the job. Albeit not with the same luscious sound. But they work and you can use them.

This has been a long thread. We now return you to our regularly scheduled program.
Mx. Remy Ann David

Paul999 Mon, 02/04/2013 - 21:23

Remy's previous post on this is fabulous and I would recommend and person starting out read and re-read it until they get it. My recording space is pretty good sounding and thanks to a ton of new treatment I am really digging it. I use 57's almost exclusively as my ovheads in my very large live room. When I sold my Km84’s because they weren't delivering what I wanted I used 57's in until I could decided what new overheads I wanted. I was looking at ribbon options. This was two years ago and I have tracked and mixed a ton of genre's and full bands live off the floor as well as just plain drum sessions. I love them in my studio! With a nice pre amp and the right distance from the kit(further is usually better). They sound detailed and the low mids are hefty. Pulling out some 700 and 2-3k will add sparkle.

It is very tough for me to spend $2500 on some royers when an Sm57 will get me great results and possibly just a sideways move. I am at the point were I will be trying some ribbons against my current arsenal in a while. Who knows I may recant everything but make no mistake world class overhead sound can happen with $200 worth of mics.

Most commonly I use ORTF.

audiokid Mon, 02/04/2013 - 22:07

Ha, Paul, I've been bragging about you. You are back! good to read this stuff. Although, I love my royers like my wife. The idea is space and some delay between that main kit and overheads. It sounds like you are getting that right on! And who needs all the extra sibilance and sub freq for that! Remy has that one pinned.

Paul999 Mon, 02/04/2013 - 22:24

audiokid, post: 400111 wrote: Ha, Paul, I've been bragging about you. You are back! good to read this stuff. Although, I love my royers like my wife. The idea is space and some delay between that main kit and overheads. It sounds like you are getting that right on! And who needs all the extra sibilance and sub freq for that! Remy has that one pinned.

Ha! Very flattering! I am excited about shooting out royers against 57s on overheads and guitars in my studio on my gear. It'll be a little while before I do because I am wrapping up endless projects right now.

Ty Ford Tue, 02/05/2013 - 07:47

We were recording a live performance to a TASCAM 24 track HD recorder for a CD a few years back. I think the board was a soundcraft. I brought along a couple of extra mics, just in case; a pair of C414 BULS and a pair of Schoeps CMC641 with a stereo mic bracket. The live sound crew ran out of SM57 and SM58 by the time they go to the drum overheads. I used the Schoeps.

Later, after I got the tracks back from the recording, I was labeling tracks in Pro Tools by listening to each track......guitar cab, kick, snare, huh? why does this mic sound so good? Oh! It's one of the Schoeps OH mics. Next to is was....another very nice sounding track...the other Schoeps OH. Then back to your regularly scheduled program of typically peaky SM57 and SM58.

Regards,

Ty Ford

BassLiK Thu, 02/14/2013 - 19:41

Mario-C., post: 400265 wrote: I've had great luck with the Royer Stereo ribbon mic, great setreo image and sounds really nice, tames all that cymbal harshness very well

These are fantastic mics.
SHure KSM32's, as well as other sources, Now I'm saving up for a Pacifica PRE and I'm off to the races.
[="http://www.youtube…"]The Shure KSM32: A Love Story - YouTube

Chris records all over the world, in the best studios and has access to every mic conceived, but still chooses the KSM's for overheads. I truly dig the vibe with the faders pushed up.
[/]

Ustas Sat, 03/09/2013 - 10:42

DPA 4011 vs AKG 414 vs Royer vs Elation KM 201, & D112 vs Elation KM 202 vs Audix D6

There is a very evenly played the drum tracks.
Overheads mics ( 4 matched stereo pairs) and kick (3 mics) drum mics - comparison.

Writing a good drum room, drums - Yamaha Recording custom
Many thanks for MMS studio in Moscow.
http://mms-records.ru/source/

Comparison with the names of microphones or "blindly"?.

Tell me, you will be interested listen to comparative files: with name, or no-name mics?

KurtFoster Sat, 03/09/2013 - 14:06

a good room can really make the difference although i did some really good sounding stuff in an iso booth that was 6 by 8 by 9 feet and lined with soundboard and acoustic foam and a carpet on the floor (can you say dead?). it was the quintessential dry '70's drum sound. it's really about golden ratios and room modes when you are designing / building booths and recording rooms.

just stay away from the current crop of Indochinese / Asian / Australian crap.

ummm, sorry; RANT TIME

I've had it up to here and back with all this 57 / 58 noise.

57's/58's are great pa mics. wonderful for vocals in a live setting, great for snare, sometimes toms, kick, often for guitar amps live or in the studio. you can pound nails with them and they will keep coming back for more. but i think they suck for ohs or hats.

i can only guess / suppose some people have gone deaf in their old age and they need that nasty "presence" peak (all the 5 k you could want) so they can hear the cymbals as the reason anyone would recommend them for cymbals of any kind. cymbals & hats contain information over 15k. 57's/58's roll off at 15k. using a 57/58 for cymbals is basically putting a low pass filter on the ohs. now if that's what you want ... fine. but why would you want to do that? it's not like there's a lot of competition for the top octave.

you want smooth? get a ribbon. you want to hear a cymbal full range, silk and with all the nuances of attack? for that you need condensers (actually capacitor mics) .... dynamics like a 57 with tons of mass in the diaphragm are way too slow and sluggish imho. i prefer sd condenser (actually capacitor mics) ... btw, nothing personal intended. (rant over)


and now, back to our regular broadcast;

my preference for ohs is old AKG C451s, AKG 460's, atm 4033's, 414's (the older, the better) vintage Neumman KM83s or 84's or (nice) u87's of any vintage / flavor (if i want to get a lot of the room).

when time and budget dictates for a really big sound with lots of control at mix, i will use u87s as room mics several feet in front of the kit, the 451's overhead and on the hats while placing the 4033's (a real fave of mine for many things, i think they are highly underrated) around the kit.

then again a ribbon or two overhead and a LD condenser a few feet in front of the kit, mixed in mono ala' Beatles / Stones can sound just as good .... it really depends of what you are trying to achieve.

if you are really on the cheep get a pair of KEL HM-1's and do the Beatles / Stones thing. i love those things. to my ear they sound very close to a U87ai. i tried them side by side and there was very little difference other than the HM-1s don't pick up as much room ambiance as an 87, which makes sense as they are really mid size diaphragms.

Ustas Sun, 03/10/2013 - 09:39

here is OHs recording, listen - >

1.
[="http://www.mediafire.com/download.php?gb7qboydl6x1xix"]1_1.mp3[/]="http://www.mediafir…"]1_1.mp3[/]

[[url=http://="http://www.mediafir…"]2_1.mp3[/]="http://www.mediafir…"]2_1.mp3[/]

[="http://www.mediafire.com/download.php?nodm3i3zuohv5v5"]3_1.mp3[/]="http://www.mediafir…"]3_1.mp3[/]

[[url=http://="http://www.mediafir…"]4_1.mp3[/]="http://www.mediafir…"]4_1.mp3[/]

2.
[="http://www.mediafire.com/download.php?afr5c5yb2cpaxc1"]1_2.mp3[/]="http://www.mediafir…"]1_2.mp3[/]

[[url=http://="http://www.mediafir…"]2_2.mp3[/]="http://www.mediafir…"]2_2.mp3[/]

[="http://www.mediafire.com/download.php?nkqi8duvkcq5kan"]3_2.mp3[/]="http://www.mediafir…"]3_2.mp3[/]

[[url=http://="http://www.mediafir…"]4_2.mp3[/]="http://www.mediafir…"]4_2.mp3[/]

3.
[="http://www.mediafire.com/download.php?w618y2j08adrnbp"]1_3.mp3[/]="http://www.mediafir…"]1_3.mp3[/]

[[url=http://="http://www.mediafir…"]2_3.mp3[/]="http://www.mediafir…"]2_3.mp3[/]

[="http://www.mediafire.com/download.php?r2987ho53v7oku6"]3_3.mp3[/]="http://www.mediafir…"]3_3.mp3[/]

[[url=http://="http://www.mediafir…"]4_3.mp3[/]="http://www.mediafir…"]4_3.mp3[/]

Sorry for MP3, low speed uploading...
Who are interested about the name and track number for the each microphone - write to the PM.
Thanks.
Mike

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