overhead drum mics recomendations?

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

 

I use Josephson C42s or Charter Oak M900s or Microtech Gefell M930s.

Budget options I've used with decent results are KEL HM-1s and Studio Projects C4s.

 

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!

 

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.

 

Budget but I like to use Oktava MK-012-10. Otherwise I would go with my AKG XL 11/ST

 

Nothing bothers you more and longer on your way up to a pro audio engineer than a bad microphone purchase.
Consider safing up for a better one. Those junk mics don't even have the decency to kaput, soon.
They last really long, reminding you of a mistake you made many years ago.
;-)

 

The Neuman U87 for warmth, the AKG 414EB and the AKG 451 with CK1 Capsule for crystal clarity.
AKG C1000 and the Roden if you are on a budget.

 

I'm happy I chose the KSM 32's after hearing them on this youtube, although not the best for audio playback youtube is, but still impressed nonetheless. I love these mics on overheads.
The Shure KSM32: A Love Story - YouTube

 

actually almost any small diaphragm condenser will do. budget will dictate choice. get the best you can afford. as a bonus you will be able to use them for other tasks as well.

 

That's what I love about the KSM 32's, all the sources on that youtube clip are the KSM32's, pipe organ, drums, piano, trombone, etc. Although the KSM 32's are actually a mid size diaphragm. They are really a no-brain er for all job duties.
The Shure KSM32: A Love Story - YouTube

 

2ndfl,

Best sound I've gotten so far is from a pair of Schoeps CMC641 in XY. Go 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

 

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.

 

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

 

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)

 

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

 

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.