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Unmatched Drum Overheads

PostPosted: Tue Feb 13, 2018 4:55 pm
by Muff_Diver
Assuming that I have a 4 channel interface and kick and snare miked, would it be terribly unconventional to use two different mics and the Glyn Johns mic placement?

Keeping sub $500 budget in mind, I want to use a ribbon (like a cascade fathead) to pick up the toms and some sort of condenser for the cymbals. Sure, I wont be able to get a great (if any) stereo sound since the two mics will be picking up two vastly different things, but I feel like the two will better cover the full spectrum of the kit than a matched pair of either. Matching condensers seem to only highlight cymbals and leave the toms wimpy. The fathead has the opposite effect, making the toms fat and prevalent but rolling off all of the high end from the cymbals.

Has anyone done something similar with positive results? Would a matching pair and heavy eq really be the way to go with this?

Re: Unmatched Drum Overheads

PostPosted: Tue Feb 13, 2018 9:49 pm
by crochambeau
I've not done this specifically, though I see no reason not to...

..unless stereo spread was the goal. I'd say let it rage and see if you like the results.

Re: Unmatched Drum Overheads

PostPosted: Tue Feb 13, 2018 10:00 pm
by Invisible Man
Unconventional drum micing is the most fun one can have in the studio. Go for it. You won’t get symmetrical clean sounds, but who cares.

Might I suggest using kick, snare, and

Room mic
Contact mics
Overhead
Mic into pedals
Mics in containers
Overdriven mics

Re: Unmatched Drum Overheads

PostPosted: Wed Feb 14, 2018 4:37 am
by ibarakishi
Invisible Man wrote:Unconventional drum micing is the most fun one can have in the studio. Go for it. You won’t get symmetrical clean sounds, but who cares.

Might I suggest using kick, snare, and

Room mic
Contact mics
Overhead
Mic into pedals
Mics in containers
Overdriven mics


basically all of this ^ seriously, just about anything you have for any sort of percussive sound can give you great results if you are willing to put in the time to crawl around your floor seeing what they can do and are open to having non-conventional sounds. If you have limited mics or inputs on your interface, also don't be afraid to do multiple takes of your drumming doing different parts of the kit in isolated sections too (if you are really hitting your head against a wall with getting minimal mics to work or you are having certain parts masked/muddied out/etc.). Some of my 'worst' equipment (sometimes broken) has allowed me to record/create sound that i could have never been able to do any other way. Like C- said above too, basically just bang it out, see what happens, and move forward from there with your adjustments and considerations. I think C has said this in other posts too somewhere, but learning from your mistakes and what doesn't work or you come across something that you never knew could work is often just as rewarding, or more so, than when things go as planned.

Re: Unmatched Drum Overheads

PostPosted: Wed Feb 14, 2018 7:05 am
by Invisible Man
Blake Fleming did some great mixed micing stuff with Laddio Bolocko.