This was a very "drum booth" sound , but a good one. But what’s even easier is to simply throw up one overhead mic to capture the entire kit, rather than two. "best placement for drum overheads" For slow thrash metal till 320 BPM slightly below the central forward portion of the lower jaw. Could someone just describe how to set it up in a different way. Toms. When you buy products through links across our site, we may earn an affiliate commission. Thanks guys. The mic of choice for most recording engineers when recording a kick drum is a … 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. From 420 BPM on between the legs, and above 480 BPM you don't need a overhead at all. My band is going into the studio next week and I was wondering if anyone could give us some pointers on overhead mic placements. Let the engineer take care of it. Overhead microphone height is an important consideration in this and every technique. I would try x/y...it's hard to mess up. Schoeps MK4, how much better than Rode NT5? 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. Emphasis on the "PAIR" that doesnt mean same brand that means they are matched freq mics. I can't wait to try this recordman mic setup on my next CD project!!! Focus on your job, which is performing and having fun. I am having a hard time getting the recorder man setup. Hey there! The only eq was on the direct kik mic. In a live setting, the biggest challenge most engineers face is getting the most gain without feedback, and the noise onstage and from the venue’s mechanical systems typically masks finer details like the noise floor of the mics. 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. I'm just not following the way he stated it and I would love to try the set up!! The imaging was great, if you don't mind things not being perfectly centered like kick and snare...the kick was a bit right and the snare was a bit left of course! I think what I need is to have it explained differently. Place it right over the drummers head...maybe 12-16" above and aimed slightly foward into the toms. You should keep the front of the mics on axis with the kit as you move them forward or backward. Nobody loves a beautiful ORTF setup from behind the drummer? This will result in an overly roomy sound. Probably a spaced pair, making sure the overheads are spaced evenly with the snare. 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. Thanks a ton! The over head mics we will use will be a pair of Rode NT5s. http://sfrecording.com/videos/DrumRecording.mp4. What you want to be "on-axis" is dependent on what you choose as the focal point for the overhead mics. 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. A great way to start is the recorderman method or the Glyn Johns technique.