Good point. In fact, with the stereo set up that we use in the DP QUAD video, the mics are positioned over the drummers head. This technique provides a very nice sound field.
It would depend on which 2 mics and which style of music. Two essential mics for rock or pop would be kick and snare, so that would mean D6 and i5. For jazz, one might choose two overhead mics such as the ADX51 or SCX1C. This is why the DP-QUAD is a good choice for just about any set up.
@theslacker072 usually you try NOT to get the bass drum into the overhead tracks anyway, as I got to know. That's why a bass roll off on the overhead mics is very useful! The snare is the most powerful part of the drumkit, so it should not be panned. listening to a drumrecording with a panned snare through headphones will drive you crazy, no matter, whether little or much panning!
@holyhell937 It depends on whether it is for live stage or studio. If you are looking for the overheads to pick up more of the kit overall, then typically large diaphragm. If the overheads are mainly picking up the sound of the cymbals, then small diaphragm.
@simulator94 It depends a lot on the style whether or not you want to pan the snare. I do mostly acoustic or alternative rock, and I don't always want the snare to be so driving, so I usually pan it somewhere between 20% and 30% to the right. I find it helps create a more interesting stereo image and it helps the drums feel more alive and three-dimensional. But when I go to the heavier side of rock, I usually agree with you; I find that I need the snare to stay in the center to drive the music.
In an ideal setting, equal distance is correct. However, when using a four mic set up with two of the mics being overheads, one has to modify the miking positions in order the achieve the best results.
I hear a lot of phase issues in there, and it's really killing the top end of the kick drum. I like to place my overheads ~6 or 7 feet above the floor (I would go higher if my mic stands were taller) and pointing away from each other at about a 135 degree angle. The only problem is that I don't get enough of my crash cymbals, but I can live with that because it creates just enough phase cancellation to accentuate the stereo image and everything sounds great that way.
@killjoyshidae1208 The Audix CX112B is a great choice. It's a studio microphone but designed to take the rigors of travel and live stage use. Many of our top touring acts are using this mic with great results.
I have a question about taking the snare as center for the overheads. Wouldn't taking the bass as a center make more sense? As you wouldn't pan the bass and might pan the snare a little to get it out of the vocalists way.
@ThePurpleDrumStick Sure, you can use one overhead. You won't be able to get a stereo image of the drumset, which may be problematic and may make the drums feel more "flat" and "one-dimensional". You also have to be really careful as to where you place the mic in order to get a good balance of the kit. Use your ears; nobody can tell you how to place the mic, you have to experiment and find the place where it works best for you. But if you work it right, you should be able to get a great sound.
In an ideal setting, equal distance is correct. However, when using a four mic set up with two of the mics being overheads, one has to modify the miking positions in order the achieve the best results.
Good point. In fact, with the stereo set up that we use in the DP QUAD video, the mics are positioned over the drummers head. This technique provides a very nice sound field.
It would depend on which 2 mics and which style of music. Two essential mics for rock or pop would be kick and snare, so that would mean D6 and i5. For jazz, one might choose two overhead mics such as the ADX51 or SCX1C. This is why the DP-QUAD is a good choice for just about any set up.
The exact info I was looking for. Sweet.
@theslacker072 usually you try NOT to get the bass drum into the overhead tracks anyway, as I got to know. That's why a bass roll off on the overhead mics is very useful! The snare is the most powerful part of the drumkit, so it should not be panned. listening to a drumrecording with a panned snare through headphones will drive you crazy, no matter, whether little or much panning!
@holyhell937 It depends on whether it is for live stage or studio. If you are looking for the overheads to pick up more of the kit overall, then typically large diaphragm. If the overheads are mainly picking up the sound of the cymbals, then small diaphragm.
@simulator94 It depends a lot on the style whether or not you want to pan the snare. I do mostly acoustic or alternative rock, and I don't always want the snare to be so driving, so I usually pan it somewhere between 20% and 30% to the right. I find it helps create a more interesting stereo image and it helps the drums feel more alive and three-dimensional. But when I go to the heavier side of rock, I usually agree with you; I find that I need the snare to stay in the center to drive the music.
@jwalsh8 Thanks very much, couldn't agree with you more especially if you have SCX1C or SCX25A overhead .... they will take the kit to another level.
In an ideal setting, equal distance is correct. However, when using a four mic set up with two of the mics being overheads, one has to modify the miking positions in order the achieve the best results.
I hear a lot of phase issues in there, and it's really killing the top end of the kick drum. I like to place my overheads ~6 or 7 feet above the floor (I would go higher if my mic stands were taller) and pointing away from each other at about a 135 degree angle. The only problem is that I don't get enough of my crash cymbals, but I can live with that because it creates just enough phase cancellation to accentuate the stereo image and everything sounds great that way.
@killjoyshidae1208 The Audix CX112B is a great choice. It's a studio microphone but designed to take the rigors of travel and live stage use. Many of our top touring acts are using this mic with great results.
I have a question about taking the snare as center for the overheads.
Wouldn't taking the bass as a center make more sense? As you wouldn't pan the bass and might pan the snare a little to get it out of the vocalists way.
so what's preferred? large diaphragm or small diaphragm condensers for overheads?
@ThePurpleDrumStick Sure, you can use one overhead. You won't be able to get a stereo image of the drumset, which may be problematic and may make the drums feel more "flat" and "one-dimensional". You also have to be really careful as to where you place the mic in order to get a good balance of the kit. Use your ears; nobody can tell you how to place the mic, you have to experiment and find the place where it works best for you. But if you work it right, you should be able to get a great sound.
when would you want to use the - 10 dB pad on the ADX51's?
please answer =P Thanks
can u record with 1 overhead, and how do i place in then???
3:02
You said it was a good thing to have the overheads equal distance to the snare drum, well, why don´t you follow your on advice? Just curios?
lol "brass" cymbals.
In an ideal setting, equal distance is correct. However, when using a four mic set up with two of the mics being overheads, one has to modify the miking positions in order the achieve the best results.