Drum Overhead Mics

[firsty33]

Hello,

I've been dialing in the sound for recording drums for a couple years now, and everything seems to sound great, (to me at least!) however, the only issue I can't seem to work out is my overhead mic situation. Maybe it's because I have a pair of cheap Cad condenser mics, but nonetheless, the end result is a muddy washy overpowering crash cymbal sound. They also overpower my other mics, (the cymbals). I've worked on gating, all types of compression, -20dB pads, and everything else I can think of. I listen to so many albums and ponder how the drums come through so strongly, but the cymbals are nice and full, (not overpowering) in the background.

Does anyone recommend McDSP Analog Channel? Will tape saturation help this situation?

Any help would be greatly appreciated!

Justin Pitlik

[BobbyDazzler]

Try some Ribbon Mics

[albee1952]

Describe the room in detail. Maybe its about placement(the best mic in the wrong position will be crap and cheap mics in the right position can do a surprisingly good job). For instance, my neighbor has a kit in a modest sized room(like an average bedroom size) with a ceiling that is acoustic tile and slightly under 8'. He put his overheads in what would be considered a "normal" position, on either side, looking down, and as high as they would go(these are long, thin, inexpensive pencil condensers). Sound was okay at best. I suggested he point the mics up and move them as close to the ceiling as they could be without actually touching the tiles(same principle as a boundary or PZM mic). Sound improved by a giant step. Another friend had a lower ceiling and we pulled the mics away from the kit, put them chest high and out in front about 5 feet away. Again, it made a big improvement. Also had another friend that would often do 3 mics on the kit. 1 in the bass drum and 2 looking over the drummer's shoulders. Sounded pretty stellar

[Ben Jenssen]

Originally Posted by albee1952

Also had another friend that would often do 3 mics on the kit. 1 in the bass drum and 2 looking over the drummer's shoulders. Sounded pretty stellar

My standard approach was always: OHs capturing from the drummers listening point, the whole set, getting it as good as I could, and adding close mics after that. OHs over or byside the drummers head pointing a little to the sides. Cymbals, even hihat just falls into place. Always worked for me. - as a starting point.

[chavernac]

Try to get a balanced tone.
"balanced as in": wanna hear as much of the kick, snare, OH, hi hats, toms, etc...

No hi hat that goes TSH TSH TSH and cymbals that go SPLLAAAAAAAAASH with the rest quiete.

If the sound is too harsh, try to change the mic or put them higher to see if the sound has time to dissipate befire it hits de capsule.

http://puremix.net/video/othering/ev...ads-hihat.html

This video should help you out.