spaced pair drum overheads

Each microphone’s mono signal is assigned to the left or right audio track to create a sense of space in the recording. With the Blumlein technique, a sense of realism is created. To understand how it makes a difference here’s the maths: When there is no time difference between the loudspeaker signals, then a level difference of 15dB between the right (+15dB) and the left (0dB) will move the phantom image all the way to the right. 180º SRA using Parallel Cardioids In Neumann Recording Tools. Any two correlated signals panned left and right will give the impression of width but believable stereo is created by the brain in response to positional cues. When using the mics live whether in the studio or on the road, spaced pairs are generally a better fit due to how close the mics can be set over the kit without picking up bleed from other instruments. This does introduce possibly the biggest factor to this subject, which is that usually these mics are being used in combination with close mics on the kit and the “everything out to the sides” sound these overheads will create, don’t leave us with a hole in the middle of the kit because that hole is amply filled by the close mics - Maybe people do it this way because the stereo image doesn’t matter if you’re constructing it from close mics and just want a “stereo-ey” haze of cymbals around your close mics. There’s the Blumlein pair (or X/Y); spaced pair (or A/B); ORTF; mid-side (or M/S) and dozens of other methods. Depending on how the mics are set, we will capture only level differences (e.g. For general room miking, it captures a highly realistic image of the original sound. What are your thoughts on XY vs Space Pair for drum overheads? I often use AT4051's as overheads on drums. There also some “wrong” ways which, while they might sound good (and if it sounds good then it probably is good) strictly speaking are not “stereo”. Don’t just take it from us. We Show You The Difference, 21 Snare Drum Dampening Tricks - Hear Different Ways To Instantly Fix Drum Ring Before Recording, Drum Mixing Tips - Try These Fundamental EQ Starting Points To Help You Focus The Sound Of Your Drums Fast. They are very difficult to get wrong and in a less than ideal space their forward (or downward) facing character helps favour the drums over the room. There is a lot of common ground between recording and live sound but there’s a great deal that’s different. This isn’t necessarily wrong, the mics are being used for a different purpose and in a very different environment. Love the stereo spread as long as they're measured & in phase, usually sounds great for most records. A ribbon and a condenser on the neck and body might sound nice panned away from each other but they aren’t “proper stereo” - they might well sound better than a “proper” stereo array would in a particular application but it’s important to understand the difference. Drum overhead miking sets the stage for your overall kit sound. In this case using cardioids for overheads is potentially beneficial, allowing you to mitigate to some extent the influence of the low ceiling you’re probably recording under - a high ceiling is the single best thing you can do for your drum recordings after getting the right player and drums, with mics and preamps coming a long way down the list compared to having a high ceiling. In a recent conversation among the team we were discussing what the thinking was behind the apparently common practice of using a spaced pair of cardioid mics, often facing inwards, as a pair of overheads on drums? At 5 feet apart (I’m approximating lots of examples here) the SRA between a pair of parallel cardioids is 40º. So many people don’t do this and as a result the snare is off to one side in the overheads. We’ll look the issue of placing overheads like they do in live sound in the next paragraph, but what about the centre line Mike? Capturing drum sounds is a good way to understand the incredible accuracy of the Blumlein method. However the sound of a recorded drum kit in popular music has, for a long time been a little removed from the reality. So where does this spaced cardioids facing inwards thing come from? If the right signal arrives 1.1 ms earlier but there is no level difference, then the signal will be heard as coming from the right loudspeaker. However, there are two different approaches to A-B Stereo that are often genre dependent. Figure 1: An A-B Stereo pair, as viewed from overhead. XY, MS, Blumlein), only timing differences (spaced techniques using omnis - e.g. All refer to the same basic technique. But which works best for a given application? In the following video, you can hear this same setup of an AEA R88 stereo microphone positioned above a drum set in Blumlein configuration. Overheads are the Beginning of Great Drum Tracks. While Blumlein is a popular overhead setup, using spaced pairs on a drum kit is favored by many engineers because it gives less focus on the center of the kit and more on the cymbals. To make engineer’s lives easier and stereo assembly faster we’ve created stereo bars like the SMP17 and SMS Bar to make mounting mics in this phase-sensitive technique easier and more accurate. AB Spaced Pair This is probably the method you’re most used to visualising when someone mentions drum overheads, but it’s also the most prone to difficulties. While we can often play fast and loose with this when recording narrow sources like individual players, these things make a big difference with wider sources. Trusted content from independent music and post production experts. The positional cues captured by conventional microphones (let’s not get into dummy heads etc.) It offers the illusion that the sound is coming from the center. Friend of the blog Mike Exeter agreed: “I agree about the live thing - that is a good observation. If anything makes your music sound like a home brew, it’s because something went wrong in your drum tracks. Setting up the Uneven Spaced Pair is pretty easy. When using a pair of microphones to record stereo, engineers often face a bewildering series of choices. This is often referred to as stereo imaging. Alternatively there is that Recordman method found somewhere on the web which I would not call a spaced pair. In the studio, it depends on what a song or mix calls for. In the diagram below, an R88 stereo mic is positioned above a drum set in Blumlein configuration. Anything within the area of pickup will sound like it is coming from where it is physically positioned. Both phenomena create very minor variances that add a sense of space to the recording. Another suggestion is that cardioid mics are the default. There are rules about this, though these are often misinterpreted as the only way to do stereo - they aren’t, but they are good ways and they are codified so as to be repeatable. To this day, Blumlein’s coincident recording technique using two figure-of-eight pattern ribbon mics is the benchmark for producing an authentic representation of a performance in a room. The opposite happens if the mics are facing towards each other and the timing differences and level differences are likely to work against each other! So what is happening here? We'll dig in to those differences a bit later - first, let's look at the classic approach to A-B Stereo.

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