drum overhead mic distance

Here’s a video tutorial.I panned the two tracks hard R/L in this clip, which maximizes the width of the stereo image at the cost of leaving a hole in the middle. The Cheapest Overhead Microphones for Drums. I wanted to grab as much of the drum sound from the overheads as possible, using the other microphones of the kit just to fill in the sonic gaps and boosting certain elements of the kit, complementing the overall sound. Its uses include drum overheads, cymbals, acoustic instruments and live performances due to the externally polarized mic. and facing the snare or facing the symbals? so i got a mic on the kick and snare. The “Recorderman” technique is a close-overhead technique that attempts to put both mics equidistant from both the snare and the kick drum. On the subject of imaging and width it’s worth noting that sometimes the cymbals can mask the guitars if they have a wide stereo field. Dynamic mics 1. Another method you can use to record drums with 2 mics is the stereo overhead method. [3] Coincident placement give a wider stereo image than spaced pairs, and some engineers prefer it for this reason.[4]. All the basic how-tos on how to use a spaced pair of mics seem to describe either having the mics the same distance from the center of the snare, or the kick drum, or in some cases both. Reply Place two mics over the kit, one directly over the snare, the other directly over the floor tom, and up from the kit about 2 to 3 feet, use your ear to dictate the exact distance. The overheads microphone placement I used on the last Siddharta acoustic tour originated in the latter approach. now the overheads should be the same distance from the snare right? This uses a matched pair of microphones – usually, small-diaphragm condensers placed above the drum kit. In orchestral recordings, particularly those for film score recordings, the Decca tree is often used. Also, if you do choose to use two overheads (or two room mics), be sure to use a piece of string or mic cable to get the mics an equal distance from the snare drum, which will help minimize phase issues, as the snare seems to be the worst part of the kit to suffer from it. Behringer is … [7], On this recording of a drum kit, the overhead microphones provide a clear stereo image of the kit as a whole, On this recording of a drum kit, the lack of overhead microphones leaves the recording without much ambience, as the sound is only provided by the close microphones, On this recording of a drum kit, overhead microphones are balanced with the close microphones to blend the stereo sound of the kit and ambience together, Drum recording using just overhead microphones, Drum recording using microphones on each drum, but no overhead microphones, https://en.wikipedia.org/w/index.php?title=Overhead_microphone&oldid=917347388, Creative Commons Attribution-ShareAlike License, This page was last edited on 23 September 2019, at 12:19. Behringer C-2 Stereo Overhead Mics. One mic stands about 32'' above the snare, pointing straight down, while the other sits over the drummer’s right shoulder, pointing at the snare. The height of the overheads (anywhere from 30″ to 60″ from the snare) should be positioned with consideration to the height of the ceiling, the distance between drums and cymbals, and the drummer’s sensitivity to dynamics. There are multiple arrangements for drum overheads, which are often based on personal preference of the musician, engineer, or producer. An easy way to do this is by using a long piece of string to measure the distance between the center of the snare drum skin and each of the overhead microphones. The overheads microphone placement I used on the last Siddharta acoustic tour originated in the latter approach. First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms.A dynamic mic functions just like a speaker, only in reverse, with the movement of the diaphragm in turn moving a … An overhead drum mic is one of the most used mics for this kind of instrument because they can be installed over the head of the player or height of the drum. Use the technique of XY overheads, as discussed in the simple drum kit miking article. Other drum overhead positions include the Recorderman Technique (where the distance between both microphones and the snare drum is equal, as is the distance between both microphones and the bass drum[5]) and Glyn Johns' method (where one "overhead" is placed to the drummer's right, aiming across the floor tom to the centre of the kit[6]). Let's say you're using a minimal drum mic setup - two overheads, kick, maybe snare mic too. Other drum overhead positions include the Recorderman Technique (where the distance between both microphones and the snare drum is equal, as is the distance between both microphones and the bass drum) and Glyn Johns' method (where one "overhead" is placed to the drummer's right, aiming across the floor tom to the centre of the kit). I wanted to grab as much of the drum sound from the overheads as possible, using the other microphones of the kit just to fill in the sonic gaps and boosting certain elements of the kit, complementing the overall sound. Overhead microphones are those used in sound recording and live sound reproduction to pick up ambient sounds, transients and the overall blend of instruments. Choose the right mic: dynamic. [1] They are used in drum recording to achieve a stereo image of the full drum kit,[2] as well as orchestral recording to create a balanced stereo recording of full orchestras. It is imperative to … It’s a little counterintuitive but sometimes getting the widest sounding mix actually means pulling the drum overheads into the center a bit. This overhead drum microphone is a cardioid condenser that has been finished in durable satin nickel, making it heavy duty and good for extended use without becoming damaged. [1] These include "A-B" spaced pairs (where two directional microphones are suspended above the left and right clusters of cymbals),[1] "X-Y" coincident pairs, where the two directional microphones are centred on the drum kit with their capsule are very close without touching, and angled across each other at 90°. These include "A-B" spaced pairs (where two directional microphones are suspended above the left and right clusters of cymbals), "X-Y" coincident pairs, where the two directional microphones are centred on the drum kit with their capsule are very close without touching, and angled across each other at 90°. Because there are two overheads involved, phase cancellation becomes a serious concern. The Stereo Overhead 2 mic drum setup. also should they be over the bell of the symbals or the outside?

Cotton Seed Cake Making Machine, Brain Quest Workbook: Grade 1 Pdf, Is Tostitos Avocado Salsa Healthy, Why Do We Need Law, Fallout 4 Mercenary Pack Invisible, Hacksaw Blade Types,