When it comes to recording drums, one of the most critical aspects is capturing the sound of the drum kit as a whole. This is where drum overheads come in – a pair of microphones placed above the drum kit to capture the overall sound of the drums. In this article, we’ll delve into the world of miking drum overheads, exploring the different techniques, microphone types, and placement options to help you achieve the perfect sound.
Understanding the Role of Drum Overheads
Drum overheads play a crucial role in capturing the overall sound of the drum kit. They help to:
- Provide a balanced sound: By capturing the sound of the entire drum kit, overheads help to create a balanced mix of all the drums and cymbals.
- Add depth and width: Overheads help to create a sense of space and depth in the mix, making the drums sound more expansive and immersive.
- Capture the room sound: Overheads can also pick up the sound of the room, which can add character and ambiance to the drums.
Choosing the Right Microphone
When it comes to choosing a microphone for drum overheads, there are several options to consider. Here are some popular types of microphones commonly used for drum overheads:
Condenser Microphones
Condenser microphones are a popular choice for drum overheads due to their:
- High frequency response: Condensers are great at capturing the high-end frequencies of the cymbals and drums.
- Wide pickup pattern: Condensers often have a wide pickup pattern, making them ideal for capturing the sound of the entire drum kit.
Some popular condenser microphones for drum overheads include:
- AKG C414
- Neumann KM184
- Shure KSM44
Ribbon Microphones
Ribbon microphones are another popular choice for drum overheads, offering:
- Warm and smooth sound: Ribbons are known for their warm and smooth sound, which can help to tame harsh cymbals and drums.
- Figure-eight pickup pattern: Ribbons often have a figure-eight pickup pattern, which can help to reduce bleed from other instruments.
Some popular ribbon microphones for drum overheads include:
- Royer R-121
- AEA R84
- Coles 4038
Microphone Placement Techniques
When it comes to placing drum overhead microphones, there are several techniques to consider. Here are some popular methods:
The “X-Y” Method
The “X-Y” method involves placing two microphones in a crossed pattern, with the capsules pointing towards each other. This method helps to:
- Reduce phase issues: By placing the microphones in a crossed pattern, you can reduce phase issues and create a more cohesive sound.
- Capture a wide soundstage: The “X-Y” method helps to capture a wide soundstage, making the drums sound more expansive and immersive.
The “ORTF” Method
The “ORTF” (Office de Radiodiffusion Télévision Française) method involves placing two microphones 17cm apart, with the capsules pointing towards each other at a 110-degree angle. This method helps to:
- Create a realistic soundstage: The “ORTF” method helps to create a realistic soundstage, making the drums sound more natural and immersive.
- Reduce bleed: By placing the microphones at a 110-degree angle, you can reduce bleed from other instruments.
The “Spaced Pair” Method
The “Spaced Pair” method involves placing two microphones 3-4 feet apart, with the capsules pointing towards the center of the drum kit. This method helps to:
- Capture a wide soundstage: The “Spaced Pair” method helps to capture a wide soundstage, making the drums sound more expansive and immersive.
- Create a sense of depth: By placing the microphones at a distance, you can create a sense of depth and distance in the mix.
Tips and Tricks for Miking Drum Overheads
Here are some additional tips and tricks to help you get the best sound from your drum overheads:
- Experiment with microphone placement: Don’t be afraid to experiment with different microphone placement techniques to find the sound that works best for your music.
- Use a high-pass filter: A high-pass filter can help to reduce low-end rumble and bleed from other instruments.
- Adjust the microphone height: Adjusting the microphone height can help to change the tone and balance of the drums.
- Use a pair of microphones with different polar patterns: Using a pair of microphones with different polar patterns can help to create a more interesting and dynamic sound.
Conclusion
Miking drum overheads is an art that requires patience, experimentation, and practice. By understanding the role of drum overheads, choosing the right microphone, and using the right placement techniques, you can capture the perfect sound for your music. Remember to experiment with different microphone placement techniques, use a high-pass filter, adjust the microphone height, and use a pair of microphones with different polar patterns to create a more interesting and dynamic sound. With these tips and tricks, you’ll be well on your way to capturing the perfect sound from your drum overheads.
Additional Resources
What is the purpose of using drum overhead microphones?
Drum overhead microphones are used to capture the overall sound of the drum kit, including the cymbals, toms, and snare drum. They provide a balanced and cohesive sound that complements the close-miked drums. Overheads help to create a sense of space and ambiance, adding depth and width to the drum sound. By capturing the sound of the drums from a distance, overheads can also help to reduce the attack and transient of the drums, creating a smoother sound.
In addition to capturing the drum sound, overheads can also be used to create a sense of room sound or ambiance. By placing the microphones at a distance from the drums, they can pick up the sound of the room, including the reflections off the walls and ceiling. This can add a sense of space and character to the drum sound, making it sound more natural and realistic.
What are the different types of microphones used for drum overheads?
There are several types of microphones that can be used for drum overheads, including condenser microphones, ribbon microphones, and dynamic microphones. Condenser microphones are the most commonly used type of microphone for drum overheads, as they offer a wide frequency response and high sensitivity. Ribbon microphones are also popular for drum overheads, as they offer a warm and smooth sound. Dynamic microphones are less commonly used for drum overheads, but can be used to create a more aggressive and in-your-face sound.
Some popular microphones for drum overheads include the AKG C414, the Neumann KM184, and the Royer R-121. These microphones are known for their high-quality sound and durability, making them well-suited for use in a recording studio or live sound application. Ultimately, the choice of microphone will depend on the desired sound and the specific needs of the application.
What are the different techniques for placing drum overhead microphones?
There are several techniques for placing drum overhead microphones, including the X-Y technique, the ORTF technique, and the spaced pair technique. The X-Y technique involves placing two microphones in a crossed pattern, with the capsules as close together as possible. The ORTF technique involves placing two microphones 17 cm apart, with the capsules angled at 110 degrees. The spaced pair technique involves placing two microphones at a distance from each other, typically 3-6 feet apart.
The choice of technique will depend on the desired sound and the specific needs of the application. The X-Y technique is often used to create a tight and focused sound, while the ORTF technique is often used to create a more natural and immersive sound. The spaced pair technique is often used to create a wide and expansive sound, with a sense of space and ambiance.
How high should drum overhead microphones be placed?
The height at which drum overhead microphones are placed will depend on the desired sound and the specific needs of the application. Generally, overhead microphones are placed between 3-6 feet above the cymbals. Placing the microphones too high can result in a sound that is too ambient and distant, while placing them too low can result in a sound that is too aggressive and in-your-face.
It’s also important to consider the angle at which the microphones are placed. Aiming the microphones directly at the cymbals can result in a sound that is too bright and harsh, while aiming them at a more oblique angle can result in a sound that is smoother and more balanced. Experimenting with different heights and angles can help to find the optimal placement for the overhead microphones.
How can I reduce bleed and spill when using drum overhead microphones?
Bleed and spill can be a problem when using drum overhead microphones, as they can pick up sound from other instruments and sources in the room. To reduce bleed and spill, it’s often helpful to use directional microphones, such as cardioid or supercardioid microphones. These microphones are designed to reject sound from the sides and rear, reducing the amount of bleed and spill.
Another technique for reducing bleed and spill is to use a microphone with a high signal-to-noise ratio. This can help to ensure that the sound of the drums is loud and clear, while the sound of other instruments and sources is minimized. Additionally, using a pop filter or windscreen can help to reduce plosive sounds and wind noise, which can contribute to bleed and spill.
Can I use drum overhead microphones as room microphones?
Yes, drum overhead microphones can be used as room microphones to capture the sound of the room and add ambiance to the drum sound. To use overhead microphones as room microphones, simply place them at a distance from the drums, typically 10-20 feet away. This will allow the microphones to pick up the sound of the room, including the reflections off the walls and ceiling.
Using overhead microphones as room microphones can add a sense of space and character to the drum sound, making it sound more natural and realistic. It can also help to create a sense of distance and depth, making the drums sound like they are being played in a real room. Experimenting with different placements and techniques can help to find the optimal sound for the application.
How can I blend drum overhead microphones with close-miked drums?
Blending drum overhead microphones with close-miked drums can be a challenge, as the two sounds can have different tonal characteristics and levels. To blend the two sounds, start by adjusting the levels of the overhead microphones and close-miked drums. Typically, the close-miked drums will be louder than the overhead microphones, so start by bringing up the level of the overhead microphones until they are balanced with the close-miked drums.
Next, adjust the tone of the overhead microphones and close-miked drums to create a cohesive sound. This can involve adjusting the EQ and compression of the two sounds to create a balanced and natural sound. It’s also important to consider the phase relationship between the two sounds, as phase issues can cause the sound to become thin and weak. Experimenting with different levels, tones, and phase relationships can help to find the optimal blend for the application.