Best sound I've gotten so far is from a pair of Schoeps CMC641 in XY. Go [="http://www.tyford.com/Ty_Ford_Music_Production.html"]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.
Actually, the drummer was very impressed.
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 [="http://www.manley.com/refgold.php"]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?
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.
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.