QuestionQUESTION: I have seen several different ways to mic a drum kit from overhead:
1--with one "pencil" condenser overhead-in the center.
2--with 2 pencil condensers in an "X-Y" configuration.
3--With 2 pencil condensers on each side of the kit.
4--with one large element mic over head--center of the kit.
5--with 2 large element mics-- one each side of the kit.
Please tell me which you prefer and why.
THank you
Mike
ANSWER: For openers; what is the trap set comprised of, how large are the drums, how loud are the drums, are any mufflers being used on drums and/or cymbals, how does the drummer play (loud or have a studio drummers technique), what are the accoutrement of the stage, what kind of music is it, how close are other instruments, what kind of sticks, brushes and/or swizzle sticks is he or she using.
If I answered you any other way, then I would not have the experience to tell you that it took me 20 plus years to understand, get it right and realize that there is no right or wrong way. Naturally the better the mics that you use the easier it will be. Never use a condenser microphone for live applications unless you are mixing Pink Floyd or Wynton Marsalis jazz orchestra.....and most of all, assuming that you have good ears, listen to the entire band in various positions of the live venue.
One last thing is the type of sound: Elvin Jones used to typically have me mic him to get a smooth overall drum sound where you can here all the drums at one volume level. The dance music that I mixed in the 70's wanted heavy bass drum and back beat (snare). The world music groups that I've worked with like to hear more of the resonance of the instruments (namely toms). Nothing replaces experience. I've worked with some of the best names in recording.
Keep watching & listening. If your good, that's the best tool you've got.
---------- FOLLOW-UP ----------
QUESTION: "Never use a condenser mic for overheads"---Why is that?
If you watch any music videos or go to concerts, you will see condensers mics used 99% of the time.
Anything from a low end pencil condensers to Shure SM 81's, to AKG 414's to ????
So are all those big name engineers doing it wrong?
Mike
AnswerI used Pink Floyd & Wynton Marsalis as an example of "professional". Meaning that any group that would have a staff of engineers and the equipment (usually in access of $50,000 plus) to process those microphones (originally designed for the engineer). If you are a seasoned professional and use equipment of that ilk then I wouldn't expect you to be asking the question that you did on the "All Experts" site.
Having said that, I believe my Platinum records and Grammy nominations afford be the ability to answer your questions from a point of experience. I will tell you that working with musicians, producers and engineers over the last 38 years has taught me to not to be cocky and think that I can prove a pro wrong. I haven't seen too many of the Phil Ramones get to where they are with that attitude.
Maybe we go to different concerts. I'm talking MTV, the Garden in NYC, even smaller venues like SOB's. Ask the engineer how much his rig costs and how much processing their using.
Publishing my answer to try and prove me wrong to your peers of amateurs does not remove any of my accolades. You are obviously far from a pro and have proven it by poor judgment. In no way did I indicate that condenser microphones couldn't be used in live sound. I just meant that someone like yourself probably wouldn't have the equipment to be using the condenser microphones that you see in concert. I'll bet you won't publish this answer.
