Drum Kit Overheads

[Livenoise]

Hi everyone,

 

I'm currently in the market for some new microphones to upgrade from what I had.

 

I will be buying some Sennheiser E604's, 3 toms, and one for snare bottom.

 

An SM57 for snare top.

 

Beta 52 and beta 91 for kick.

 

But I'm currently stuck for any ideas for overheads. My budget wont quite stretch to a pair of C414s! 

 

I'm looking to spend about £300 for a pair of large diaphragm overheads.

 

Cheers, Aidan.

[Trunker]

Hi,

 

Have a look at the SE electronic range the pencil condensors may be what you are after, I know people have had good results wiuth these mics in the studio. Or try the AT4040 or AT4033a you may be able to get a pair for just about the £300 mark if you look.

 

Also for you Toms check out the Shure Beta 56 and check out the AKG D112 for your kick drum.

 

Hope this gives you more ideas to think about.

 

PS Are you using them for Live or Recordings? If the latter try some condensor mics on the toms instead or the dynamics. I would try and get to somewhere like Studiospares or Turnkey and ask for demos on a range of mics as well.

 

PPS Shame about not being able to get 414's, would be without mine now, so handy for drums, vocals, guitars, brass bands etc.

[jamesperrett]

I'm looking to spend about £300 for a pair of large diaphragm overheads.

 

Small diaphragm mics would probably be more appropriate in this price bracket. The big problem with mics in this price range is that they're always a compromise. Some people like Rode NT5's while others hate them. The same goes for C1000's. It totally depends on what sort of sound you are looking for.

 

Cheers

 

James.

[Matt Riley]

I think that in terms of high quality large diaphragm condensors the 414 is going to be your cheapest bet. Obviously the cheap as chips ones are great value, but I'm yet to find a mic that I could really recommend in between those and the 414. What I can say is that the AKG C3000 and 2000 are, like the C1000, in my experience, not good mics. I would really steer you away from buying them, because you're going to get a better sound out of a Samson one which costs half the price.

 

Instead, for overheads I'd look at smaller diaphragm mics like the Senn 614 and the AKG 451. Or, perhaps if you've got a tiny bit more cash, the large diaphragm AT4040/50 are good options

 

M

[Livenoise]

Thank you for the quick replys!

I should have metioned that they will be being used for live sound, not recording, but I'm not ruling out recording completely!

 

I will be adding a pair of C414's to my list, however to use on guitar cabs rather than drum overheads. I just can't quite stretch to 4.

 

What are people's experiences of the C214? Would this be a viable option for a pair of overheads, as they are just that bit cheaper than their big brothers. Or would a single 414 be better than any pair?

 

Cheers, Aidan.

[Rob_Beech]

A pair is much more flexible.

 

Beta56 are good on toms, but I dont think any better than the 604's, and they're bigger. I am an Audix D2 fan on toms, worth a look?

the Classic Beta52 Beta91 combo won't go far wrong, although do listen to the D6 if you haven't already.

 

However, onto your actual question. the 4040's are good, however, if you don't need a brand name on these mics, I constantly have great results with thomanns em800's. They're cheap as chips but they're great quality, and I'd take them at twice the price, or more.

 

As for suggesting a D112 for kick drum, I'm really not entirely sure which version of the D112 you've been listening to, but not one that I have that is for sure. It's also, certainly not the right sort of mic to be used in combo with a 91.

[mervaka]

+1 for the SE electronics mics. awesome bits of kit! I had great results from an SE3 pair

[Bobbsy]

Another +1 for small diaphram condensors in general and the SE series (even the SE1A is good) in particular. Cheap as chips and they sound really nice on overheads.

 

As for the kick, I know you weren't asking but....

 

My D202 which has done sterling service in this area for longer than some of you have been alive is showing it's age and needs to be put out to pasture. In the past few days, acting on advice, I auditioned the Audix D6 and was absolutely blown away by the quality on kick. I heartily recommend it to everyone and suggest an audition if you can arrange one before you spend your money.

 

Bob

[cedd]

Without wanting to do a "me too", the SE1a's have always proved to be a good mic for overheads, and I've made some pretty nice stereo recordings with them too.

 

In a similair price bracket, with a similair spec, is the Beyer MCE530. I can never seem to find many people's thoughts on these, but they look nice and compact (shorter than the SE's) and on paper, look pretty similair. I also like the look of the stereo mounting they come with if you buy from thomann. Anybody ever used them and got any thoughts?

 

I have used C1000's overhead before (though don't own any myself) and to be honest, in the setting it was in (live rock band on a theatre stage) they sounded pretty ok. The major drawback is simply their size. A pair weigh too much to put on a standard mic stand on a stereo bar and will pull it over (or onto the drummer's head mid-gig).

[Doug Siddons]

Tried to pm you but couldn't send dynamic pages... check out the deals on red5 mics, they perform incredibly well for the frankly silly price and might just get you through till you can save some more money for the named mics you want www.red5audio.com

[jim b]

Hi everyone,

 

I'm currently in the market for some new microphones to upgrade from what I had.

 

I will be buying some Sennheiser E604's, 3 toms, and one for snare bottom.

 

An SM57 for snare top.

 

Beta 52 and beta 91 for kick.

 

But I'm currently stuck for any ideas for overheads. My budget wont quite stretch to a pair of C414s!

 

I'm looking to spend about £300 for a pair of large diaphragm overheads.

 

Cheers, Aidan.

 

I had some Oktavia MK 319 large diaphragm mics as overheads for a one-off with local production. Gave them a whirl and was really pleasantly surprised, sounded great in the in ears I was mixing. I was led to believe they were cheap but how cheap I don't know. For reference we'd been using 414s for overheads for all the other shows.

[paulears]

I've a couple of 319s that I tend to use for female vocals in the studio, but there are two reasons why I would not use them on overheads.

 

1. They are too warm sounding and although do a passable job, they accentuate the toms too much, and

 

2. They are far too heavy. Expecting a boom arm to keep one level when extended is asking a lot. None of my K&M stands are up to the task. A choral stand with counterbalance is needed.

 

My vote is for two of the pencil style models mentioned above, and from choice, a couple of 451s.

 

If the plan is to buy two 414s, I'd move those to the drums and pick something else for the guitar cabs - never found 414s really suitable for miking up amps myself.

[Trunker]

If the plan is to buy two 414s, I'd move those to the drums and pick something else for the guitar cabs - never found 414s really suitable for miking up amps myself.

 

I would 2nd paul on this. The 414's are used on guitars in the studio as an ambiance or 'room' mic to help create a 'bigger' sound. I wouldn't use them for live on Guitars. Get an SM57 or Beta 57 for this type of job, or another other 'classic' dynamic models for that reason.

[Shaggy]

While I've never had the pleasure of using a 414 on guitar, recording or otherwise, recently I have found myself choosing cheap large diaphragm condensers on guitar cabs recording modern rock and metal. I find the extended high end response over a 57 really helps when you are aiming for that modern crisp distortion tone. I've certainly seen plenty of people use 414s or other large diaphragm mics on guitar amps live and certainly think it's not a particularly out there suggestion and has advantages over a 57.

[jim b]

I've a couple of 319s that I tend to use for female vocals in the studio, but there are two reasons why I would not use them on overheads.

 

1. They are too warm sounding and although do a passable job, they accentuate the toms too much, and

 

2. They are far too heavy. Expecting a boom arm to keep one level when extended is asking a lot. None of my K&M stands are up to the task. A choral stand with counterbalance is needed.

 

My vote is for two of the pencil style models mentioned above, and from choice, a couple of 451s.

 

If the plan is to buy two 414s, I'd move those to the drums and pick something else for the guitar cabs - never found 414s really suitable for miking up amps myself.

 

On Point 1: This wasn't my experience with them-although I tend to think placement and playing style would have more to do with what ended up being foremost in the mic channel.

 

On point 2: Seemed ok on the standard K&M boom arms I used-no drooping.

 

For the most part though most of the mics mentioned in this thread would get you where you're going with careful placement and a bit of EQ. Although I personally wouldn't have a C1000 anywhere near a stage if I had a choice.

 

414s on guitar cabs is a bit unusual-like paulears says move them up to overheads and then try out the e906, e606, SM57, Beta 57a to find what you like. For my money if I was starting a rental company I'd be buyng a lot of Beta 57a-great utility mic.

 

I think the most important thing you can do is to actually hear the mics for yourself before you splash the cash. My opinion, and anyone else's, is just that. What matters is what you think of the mics (or what the engineers you supply think of the mics if you're in the business of satisfying riders).