Schoeps MK4, how much better than Rode NT5? Thanks guys. What you want to be "on-axis" is dependent on what you choose as the focal point for the overhead mics. … You should keep the front of the mics on axis with the kit as you move them forward or backward. I am having a hard time getting the recorder man setup. A great way to start is the recorderman method or the Glyn Johns technique. It sounds soooo gooood. This site pretty much rocks! I would try x/y...it's hard to mess up. "best placement for drum overheads" For slow thrash metal till 320 BPM slightly below the central forward portion of the lower jaw. 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. Overhead microphone height is an important consideration in this and every technique. The only eq was on the direct kik mic. Like all drum miking, there are lots of options for microphone choice and placement for toms. my question with the recorderman setup, the the stereo spread of the cymbols. Emphasis on the "PAIR" that doesnt mean same brand that means they are matched freq mics. Already have an account? 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. 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? I can't wait to try this recordman mic setup on my next CD project!!! Create a username and password below and an account will be created and your post entered. 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. Focus on your job, which is performing and having fun. i love hearing a nice space between crashes and hi-hat. From 420 BPM on between the legs, and above 480 BPM you don't need a overhead at all. This will result in an overly roomy sound. Thanks a ton! 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! Kick (bass) drum. 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. Recorderman if the drummer has good balance. Of course this can be avoided with careful placement and measurement. general consensus on the sneap forum is spaced pair, or recorderman style. You need an account to post a reply. I'm just not following the way he stated it and I would love to try the set up!! 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. But what’s even easier is to simply throw up one overhead mic to capture the entire kit, rather than two. Just a friendly reminder that political discussion, (including "offhand" and 'sideways' commenting) is. 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.
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