When you're primarily trying to capture the sound of the cymbals, then the mics will be placed lower on the kit and the room won't come into play as much. If your room doesn't sound that good, or your ceiling is low so the sound reflects off of it back into the mics, this technique probably won't work for you and you'll have to rely on technique #2. The true overhead mics are placed higher over the kit and therefore capture more of the sound of the room. The sound of these two techniques are, as you'd expect, different, so it's best to think about what you're going for before you randomly place some mics over the drums. The second philosophy uses the overheads more as cymbal mics that compliment the rest of the individual drum mics on the kit. The first theory (and the one that's been around the longest) is that the overhead mics are primarily used to pick up the main sound of the kit, with the other individual drum mics filling in the sound. There are two distinct philosophies regarding overhead mics. Many young engineers sometimes place the overhead mics almost as an afterthought, which is a mistake since they're very important to the overall drum sound. The Two Philosophies Of Overhead Microphones Recording The Drums – The Song’s Heartbeat – Part 5: It’s All In the Mix.Recording The Drums – The Song’s Heartbeat – Part 4.Recording The Drums – The Song’s Heartbeat – Part 3.Recording The Drums – The Song’s Heartbeat – Part 2.
#Cymbal used as timer for startup pitches series#
In Part 4 of my drum miking series we're going to look at a couple of ways to do overhead miking, the philosophy and placement of the sometimes mysterious room mics, and some surprising and interesting alternative miking techniques.
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