Thanks a ton! Let the engineer take care of it. general consensus on the sneap forum is spaced pair, or recorderman style. A great way to start is the recorderman method or the Glyn Johns technique. Tell him the sound you are going for, then trust his judgement. If the mics are very high, the capsules will point straight over the sides of the of the kit, essentially putting the entire instrument off-axis. my question with the recorderman setup, the the stereo spread of the cymbols. The noise-masking acoustic diffusion you get in the best live venues lets you get away with all kinds of tricks, from extreme EQing to dynamics processing that would sound awful on a studio album. Hey there! Oh.. one more thing.. what is this placement called... i will forever know it as the recorderman placement.. but if someone else asks.. what do I call it? Metal? The other day I put Brauner Phantom Vs in omni on the toms (1 tom and a floor tom) M260s directly, over the ride the crash and the hat, an AT3000 on sn up and an e604 on the bottom and I had image out the ass, I put another Phantom V in a tunnel and a Stedman N90 on the beater. Probably a spaced pair, making sure the overheads are spaced evenly with the snare. Place it right over the drummers head...maybe 12-16" above and aimed slightly foward into the toms. There are no outboard effects and we only want to be using software effects for mixing and mastering to protect from overloading the processor and having a delayed signal. If using more than one overhead mic, check the polarity between the two (as well as between the overheads and kick and snare mics) and flip the phase accordingly Make sure to pan your mics according to where they are on the kit, far left and far right, etc. The mic of choice for most recording engineers when recording a kick drum is a … Schoeps MK4, how much better than Rode NT5? Toms. My band is going into the studio next week and I was wondering if anyone could give us some pointers on overhead mic placements. here's some of the things i might do to record drums: Since we're just kind of talking about results of drum mic'ing in general now, I got FANTASTIC results on a blues drummer the other day by putting two small condensors about 2' off the floor and 4' from the snare on both sides of the kit pointing in. You should keep the front of the mics on axis with the kit as you move them forward or backward. i love hearing a nice space between crashes and hi-hat. In a live setting, the biggest challenge most engineers face is getting the most gain without feedback, and the noise onstage and from the venue’s mechanical systems typically masks finer details like the noise floor of the mics. The over head mics we will use will be a pair of Rode NT5s. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. I think what I need is to have it explained differently. Thanks guys. But what’s even easier is to simply throw up one overhead mic to capture the entire kit, rather than two. but then again.. who on this sight isn't.. Overhead Mic Placement: The Mic Angle and Your On-Axis Focal Point Adjusting the overhead mic angle is another tool to get your balance right. Of course this can be avoided with careful placement and measurement. Not above, just right into the middle height of the kit. Like all drum miking, there are lots of options for microphone choice and placement for toms. The imaging was great, if you don't mind things not being perfectly centered like kick and snare...the kick was a bit right and the snare was a bit left of course! This was a very "drum booth" sound , but a good one. Mod… I am having a hard time getting the recorder man setup. Recorderman if the drummer has good balance. Create a username and password below and an account will be created and your post entered. http://sfrecording.com/videos/DrumRecording.mp4. The only eq was on the direct kik mic. "best placement for drum overheads" For slow thrash metal till 320 BPM slightly below the central forward portion of the lower jaw. I would try x/y...it's hard to mess up. Focus on your job, which is performing and having fun. I can't wait to try this recordman mic setup on my next CD project!!! I'm just not following the way he stated it and I would love to try the set up!! Absolutely wonderful sound, picked the spot by moving around and listening and those two spots were just smokin'. Do you pan the two mikes hard L/R after recording? Kick (bass) drum. … Overhead microphone height is an important consideration in this and every technique. Not my favorite image but it's a safe way if you don't have a lot of experience recording drums/or are not in the greatest room. Could someone just describe how to set it up in a different way. This will result in an overly roomy sound. Nobody loves a beautiful ORTF setup from behind the drummer? This site pretty much rocks! The overhead microphone, which is closest to the hihat is in this placement moved further away from the hihat, which can be a lifesaver if the hihat is a bit overbearing when played hard - since there is less of it in the overheads, it makes it easier for you to control with a close mic. The Rode NT5 matched pair for acoustic recordings? When you buy products through links across our site, we may earn an affiliate commission. Emphasis on the "PAIR" that doesnt mean same brand that means they are matched freq mics. Already have an account? From 420 BPM on between the legs, and above 480 BPM you don't need a overhead at all. What you want to be "on-axis" is dependent on what you choose as the focal point for the overhead mics. It sounds soooo gooood. Click here to login, The ability to reply to and create new discussions, Access to members-only giveaways & competitions, Interact with VIP industry experts in our guest Q&As, Access to members-only sub forum discussions, Get INSTANT ACCESS to the world's best private pro audio, Promote your eBay auctions and Reverb.com listings for free. You need an account to post a reply.