The overheads are the most subjective part of any drum setup and there are a multitude of options when it comes to the key techniques. We are going to look at the three basic techniques that can be applied to the most setups. We also composed an ultimate guide for best overhead drum mics. Just don't miss it if you are searching for the similar articles. Spaced Pair No matter what the style is, the first technique and probably the most common is Spaced Pair. Here we have a pair of 80 40 50 s set to cardioid above the kit. The spaced pairs offer a great deal of flexibility and placement. The mics can be placed low over the cymbals to de-emphasize the rest of the kit or higher like we have them here to capture a more balanced sound. Placing the mics further apart will create a wider stereo image. Now we have the mics lower to the cymbals which will de-emphasize the rest of the kit. Wherever you place your overhead mics, make sure to keep them exactly equidistant from the snare. This will keep the snare centered in the stereo image and prevent any phase problems. This is easy to do by simply taking a mic cable and measuring from the center of the snare to each mic and adjust accordingly. You should never get the mic so low that the edge of the cymbal moves across the element as the cymbal is struck. This causes nasty phasing. XY (Coincident Pair) The next technique is the XY configuration. This consists of two cardioid condenser. X's is arranged with elements as close together as possible at a 90 degrees angle. This coincident arrangement offers a focused phase coherent stereo image. Here we have a pair of AE 50 100 S mounted on a stereo bar. There are directly over the snare to keep it centered in the stereo field and again, they need to be high enough to avoid any phase eNOS from the cymbal movement. ORTF The third technique is ORTF. This is another coincident park insisting of two cardioid pairs. It requires the specific position: 17 centimeters between capsules, angled 110 degrees from each other. Here we have 280 40 40 s. This technique offers a phase coherent stereo image like X Y with more width and symbols relative to the rest of the kit. With these techniques, your overheads will always sound first-rate on the stage or in the studio.
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