My mono overhead experience ...
My mono overhead experience ...
My band is going into the studio in a few months to record our full length (looks like we are going to go with Mark Trombino). Being that my paying job is an engineer, I'm in charge of recording all the preproduction for the producer to hear. To keep things simple, I head to our practice space with my mBox and MacBook to record drums. I decide to use a mono overhead sent to input two. Input one has combined kick, snare, and toms. That way when it came time to mix, I just used the transients in track one to trigger kick, snare, and toms. So my 2 input mBox turned into a 10 track drum session Inluding three kicks, four snares, tom 1, tom 2, and mono overhead. Much easier then bringing my 24 track!
So that was a long introduction ... come time to mix the songs, I am a huge of fan of the mono overhead now. Individual tom tracks are still somewhat panned. But the way the centered mic picked up the whole kit seemed a lot more accurate then the space pair I've been used to doing. Maybe this is the reason some people prefer XY, due to the way the mics in the center pick up the kit. But come time to mix ... having a centered overhead allowed me to space my other instruments the way I wanted without making things seemed cluttered in the left/right sides.
So maybe I'll be investing in one solid mono overhead mic, and use my 4033's as stereo rooms incase I want that space. Long post, sorry. But does anybody else prefer the mono overhead sound?
So that was a long introduction ... come time to mix the songs, I am a huge of fan of the mono overhead now. Individual tom tracks are still somewhat panned. But the way the centered mic picked up the whole kit seemed a lot more accurate then the space pair I've been used to doing. Maybe this is the reason some people prefer XY, due to the way the mics in the center pick up the kit. But come time to mix ... having a centered overhead allowed me to space my other instruments the way I wanted without making things seemed cluttered in the left/right sides.
So maybe I'll be investing in one solid mono overhead mic, and use my 4033's as stereo rooms incase I want that space. Long post, sorry. But does anybody else prefer the mono overhead sound?
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- alignin' 24-trk
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Re: My mono overhead experience ...
fwiw, we're using a pretty minimal (and somewhat odd) setup, mostly from necessity, but intrigued by the one overhead notion: one akg c1000s (40" or so up, aimed at edge of snare), sm57 2" from snare batter head, sm57 w/earthworks kickpad about 4" inside kick, blue baby bottle about 8" off res head of kick, centered 3/4 of the way up. generally submix everything into a very narrow stereo field, so it's basically a mono mix with a little extra girth...it'd be nice to try a few different mics, especially for the o/h, but in general i like this arrangement a lot.MattGrabe wrote:does anybody else prefer the mono overhead sound?
- JohnDavisNYC
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I'm tracking an EP right now (it's great working on tape... G5 on the console for TOMB-ing between takes) and I'm using my U95 as a mono overhead. right over the drummer's right knee maybe 3 feet above the snare... sounds awesome with an eisen audio pre to an A80 running Emtec 900... stereo room mics (414s into Porticos....) a modded 57 on the snare, 4047 on kick (no hole)
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I just did a 7" for a band here in Atlanta where I used a Beyer ribbon mic as a mono OH and it's the best drum sound I've ever produced.
The ribbon really puts the cymbals in check and I even thought I might not have enough highs in the mix but compressing the drum mix really brought them up. The mono OH also makes the drums sound like one instrament and leaves room in the mix for other things. It also has perfect phase compared to a stereo OH.
I'll be using this technique first from now on. Maybe in a more stripped down band that might consist of a kit and a guitar I might try stereo OHs.
The ribbon really puts the cymbals in check and I even thought I might not have enough highs in the mix but compressing the drum mix really brought them up. The mono OH also makes the drums sound like one instrament and leaves room in the mix for other things. It also has perfect phase compared to a stereo OH.
I'll be using this technique first from now on. Maybe in a more stripped down band that might consist of a kit and a guitar I might try stereo OHs.
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YES!
I was recently tracking drums and bass (plus scratch..) with my band and tried a couple of options for the o/h including a (pretty old) mono neumann km-84 in various positions but ended up choosing the old beyer ribbon in a low o/h (or crotch mic configuration as I like to call it) with 421 on kick and a tiny bit of snare mixed in with the o/h - so only 2 drum tracks to start. I have had success with it alone in the past and just didn't find the condenser to be beefy enough...probably because I was trying to capture the entire kit with it, not just the o/h....
FUN!
I was recently tracking drums and bass (plus scratch..) with my band and tried a couple of options for the o/h including a (pretty old) mono neumann km-84 in various positions but ended up choosing the old beyer ribbon in a low o/h (or crotch mic configuration as I like to call it) with 421 on kick and a tiny bit of snare mixed in with the o/h - so only 2 drum tracks to start. I have had success with it alone in the past and just didn't find the condenser to be beefy enough...probably because I was trying to capture the entire kit with it, not just the o/h....
FUN!
Mono drums are excellent. Unless you listen with your head in the kit, there's not much panning going on naturally anyway. And lots of room left for the other instruments. I'm working with a two guitar band right now and I did kick, snare top, snare bottom, tom (he only uses 1 tom anyway) and mono OH, and the guitars are panned hard left and right in the rough mixes- nice big sound that I am pleased with right now.
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- george martin
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I'm going to have to use a ribbon mono overhead now. Or, at least try it out. If anything, I've enjoyed minimal panning on kits now, anyways, due to all this talk.
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no I don't have a problem with my low ceilings but I put fiberglass above the kit to simulate the sound of a higher ceiling by taking that reflection point away..Ryan Silva wrote:I have been tempted to Omni my mono overhead lately, to open things up a bit. I was wondering if anyone had trouble using Mono Omni with low cellings. 7.5' or so.
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