Big Mic stands for Overheads? Suggestions?

[drumsound]

I have the third ones linked in the first post. I like them.

[drumsound]

I have the third ones linked in the first post. I like them.

[trodden]

I owned two of the older version of the onstage stands. The version with the four individual legs with casters.. rather than the "base" with casters. wait they still make them.. http://www.onstagestands.com/catalog/it ... /GRP000113

horrible. The cheap ass bolts strip out. The things sag.

One became unusuable so it went away.. the other one I use with a stereo bar and my mc-012's for drum overheads.. and that makes me nervous, with those two little mic's.

and without a sand bag or cinger block sitting on the legs... useless.

[Marc Alan Goodman]

Yeah, I have the quickloc ones. They work fine. If I had to do it all over I'd just buy the latch lakes. They're amazing.

I bought those same md1 shock mounts and one broke immediately! I keep forgetting to email the guy. I mean they were cheap but the mics don't really fit in to them easily.

[T-rex]

Yeah, one fits really well and one fits a bit tight, but I haven't had any issues. . .yet! I like shock mounts for overheads when possible.

[joel hamilton]

I have 3 latch lake stands now.
2 of the large size and 1 of the smaller size. The smaller size is perfect, actually. the base is a bit smaller, and it still goes to like 16 feet or something ridiculous that I never use. I have like 14 foot ceilings, but I never have a mic or pair of mics way up there. or rarely.
Getting one of them with even a single boom arm attachment will change the way you work. It works REALLY well, all the time, and you just dont even have to think about it. Its like insurance for your mics AND a precision piece of gear.
Sagging mic stands are ridiculous. like you get everything sitting right and get some phase relationships you are happy with and then they change over the course of a song? sucks.

The latch lake is awesome. The atlas stuff works, also, but putting a pair of MD1a's up on a stand, I want it to be something really solid, like when I am using M49's as OH on a stereo bar.... it needs to be SOLID because I have a down payment on a frikking house lofted over a persons head!
I know they cost money, but the latch lakes stands are totally great. Value wise, they are well priced.

[Sean Sullivan]

Whenever I need a massive stand to hold an expensive microphone, I borrow a pair of Atlas stands from the shop. I hate them. They are bulky and clunky and seem lose at the base. Sure, they've been used a lot, but for what they probably cost they don't seem worth it.

I bought a Quiklok A-50 awhile back when Musicians Friend had them cheap. I'm sure if it's still at my buddy Ian's or not...but it was nice because it was light weight and on wheels, and sturdy enough that I'd trust it with a valuable microphone. I think they were $79.99?

[daveg62]

I bought a couple of these mostly for remote work but they get used quite a bit in the studio too. They seem to be very good build quality for the price and I like them a lot. Very sturdy for heavier setups. http://www.calumetphoto.com/item/MF6040/

I also made custom mounts that attach to the ceiling. Nice if you need to save floor space, goosenecks come in different lengths that you could incorporate into a mount.
http://www.good-audio.com/ZenPhoto/cach ... pg_595.jpg

[T-rex]

I think I am going to make due with what I have and pick up a Latch Lake down the road. I really like the idea of having an arm off of it to mic the rack tom and overheads all in one shot. Plus I am buying a coles 4038 this year if it kills me and I know (or hear) how delicate those are so I need at least one solid as a rock stand.

[Marc Alan Goodman]

Latch Lake is a great investment. But I've dropped my coles a couple times and it's never caused any trouble. Only time I blew a ribbon was when I was using it on snare and the drummer sneezed in it!

[T-rex]

Latch Lake is a great investment. But I've dropped my coles a couple times and it's never caused any trouble. Only time I blew a ribbon was when I was using it on snare and the drummer sneezed in it!

Seriously, you dropped it and no problem? That actually makes me feel better. The air stuff i think I can control (maybe not a sneeze) its the clumsy factor that scares me.

[kingtoad]

I think the only way to test this is to deliberately drop your Coles 10 times from exponentially increasing heights. When it breaks, you will know where the limit is.

[randrohe]

I also have the OnStage that Trodden pointed to and I have the same issues..A stripped bolt straight from the get go and it sags..And you definately need weights on it..Steer Clear of this one...

[Marc Alan Goodman]

Latch Lake is a great investment. But I've dropped my coles a couple times and it's never caused any trouble. Only time I blew a ribbon was when I was using it on snare and the drummer sneezed in it!

Seriously, you dropped it and no problem? That actually makes me feel better. The air stuff i think I can control (maybe not a sneeze) its the clumsy factor that scares me.

I mean the things are a close to a solid block of metal with the fewest movable or electronic elements of any microphone I can think of. It's like dropping a brick. You may take a chip out of it but the insides don't have anywhere to move around to.

[soundofconfusion]

Would you still recommend mounting OHs with a 10' ceiling? My band's pretty broke these days, and this seems like a great way to avoid paying for mic stands. Thanks!

Quite honestly, in a room with a 8' ceiling I would rather just mount a flange on the ceiling and just mount the boom upsidedown or just forget the boom and use a 13" black gooseneck. This is a very solid way to mount, just make very sure you know the sweet spot that the mic will end up in.
You can hang a few eyelets to run the cord thru and that will keep it/them out of the way if your smart about your cable route.
I like this method because there's no boom arm or stand to keep navigating around, not to mention the floor space that's already crowded with the drum kit and it's many stands.

This method assumes that you leave your drum kit set up in the same spot in your studio, always, and that you don't need to move the overhead mic around.