LDC vs. SDC as drum overheads

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LDC vs. SDC as drum overheads

Post by getreel » Sun Dec 31, 2006 1:35 pm

I have been happily using my pair of AT Pto37r's for overheads, but I was wondering what difference using a pair of LDCs would make in the sound. Right now, I get mostly cymbals from my overheads and not too much room. I'll sometimes use a LDC room mike if I am looking for a more live sound, but still use the little ATs for overheads. Should I attempt using LDCs for overheads? If so, how high up should I put them adn what sound can I expect? I have some cool US made CADs and a couple of Chinese LDCs that are pretty cool. Just thought it might be fun to talk about. I remember using some great U89s as drum overheads years ago so I thought maybe I could do a similar thing with my cheaper stuff. I was also thinking of trying the cheap LDCs on toms and see if anyones done that. Or use cheap LDC on overhead and use the Pro37Rs on toms, but the Pro37Rs seem to light on low end for toms.

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Post by Slider » Sun Dec 31, 2006 2:30 pm

I use LDC, SDC, ribbons, or even dynamics for overheads if they work in context.
For instance, I keep a pair of 4041's around because they are very detailed if that's what I'm going for.
Sometimes I love them, sometimes they're just annoying.
I listen to the kit and player and setup whatever I think will work best, then I adjust mics and placement from there.
I'd get bored (and I wouldn't be doing a very good job) if I set up the same mics in the same place everytime, just because they worked great that way on one session.
I'd try out whatever you have and try and get a feel for what they do best.
Those Chinese LDC mics you have might be just what you're looking for.
Only one way to find out.

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Post by I'm Painting Again » Mon Jan 01, 2007 6:28 pm

Try it all and see what works for what your doing..like Slider said it's all about the context..

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Post by Randy » Mon Jan 01, 2007 6:50 pm

One thing to watch for with LDC's is what I think of as the "high end cone." Some LDC's have an area in their pickup pattern that accentuates the high end. If the mic has it, it's an area of of the pickup pattern that is shaped like a thin cone that emanates off in one direction from the mic. My CAD M179s have them when they are in cardioid patterns. If you are looking at the mic, it's to the right. I find this to be a good thing for stereo imaging, because you can get some neat psychoacoustic phase effects. You just have to be sure and have one mic upside down in relation to the other to get a balanced stereo field.

I had spotty luck using my CADs for drum overheads until I read about this thing that happens to LDCs. I just make sure they are in fig. 8 or omni and I haven't had problems. One time I pointed the mic so the bright side was looking at the snare and the darker side was at the cymbals and it worked out fine.
not to worry, just keep tracking....

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Post by Kasey » Mon Jan 01, 2007 9:07 pm

hey i have the pro37r's too. They're pretty neat mics for as cheap as they are (were?). My only complaint about them really is their pretty large proximity effect (so actually i think they might be fine for toms.. but ive never tried). Generally speaking though, LDC's will have more body, but SDC's are faster.

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Post by Max » Tue Jan 02, 2007 5:15 am

Kasey wrote:Generally speaking though, LDC's will have more body, but SDC's are faster.
I agree.
Pro37s didn't work for me on loud toms because they can't handle the high spl. They sound good but distort on every second or third tom hit.

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Post by getreel » Tue Jan 02, 2007 6:43 am

I like my Pro37R for overheads a lot. They sound nice and crisp without being harsh like some of the cheaper SDCs floating around these days. I was really just looking to change things up once in awhile. Yeah, I don't think I would try to use my Pro37Rs on toms, but maybe some of those cheaper MXL 603s or something. In the meantime, I've been looking at a lot of different dynamics to try on toms in place of my 57s. Something more full sounding, like a 421. I used to use 421s for toms back in the 90s when I had some. Then I was using the e604s but lately all I've had was 2 57s and the Heil PR-40 which rocked on floor tom. I've even thought of picking up some of the cheapest Chinese LDCs to try on toms, but was sure if those mics could handle it either.

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Post by allbaldo » Tue Jan 02, 2007 7:42 am

I find myself leaning on the Pro37R's for "tighter" drum pictures... where I want the overheads to have a little less drums in them, and more cymbals, and using LDC's when I want more drums in the overhead picture. Of course there are no rules here. I'd definitely try the LDC's. They can

I've been using LDC's on the toms lately, and have really liked some things about them.. I'd been using 57's which work ok, but the off axis sound of the 57's kind of blows to my ears and makes the residual cymbals sound crappy... so I started using KSM27's, and I've liked them pretty well. You've got to pad the crap out of some of them, but they work pretty well to me.

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Post by AGCurry » Tue Jan 02, 2007 8:34 am

All else being equal (which of course it never is), small-diaphragm mics will have less off-axis coloration than LDCs, and they are generally more accurate. Their down side is noise, but that shouldn't be a factor in drum overheads.

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