Hi, I've read all the threads about overheads and I'm about to buy a matched pair of MK012 made in Russia, but I would like to know if they are only for studio applications or if they are suited also for live situations.
Plus I would like to ear someone's opinion on the Audix ADX51, since the other option is to buy the DP6 kit which includes two of them.

Other suggestions? Rode NT5?
Is there a LDC suited for both live and studio?

thank you!

I can answer about the NT5's, as I have a pair.

Sometimes they are useful as overheads. They really do seem to hype the upper frequencies in a not-so-pretty way however. I haven't tried them on every type of cymbal imaginable, but they have made some (what I consider good quality cymbals) sound trashy.

YMMV.

I love my AT 4041's for overheads, and the work great on Acoustic guitars as well. I got mine off eBay for $200 a piece brand new.

Hope this helps!

I'm slightly confused by your post as any mic can be used as live or recording.

Live use you will want a pretty tight pattern, at least cardioid, if that is what you're asking.

The Oktava are fine on overhead, those MK-012 have always been strong performers on a budget and I absolutely love those mics on acoustic guitar as well. For overhead use I am a huge fan of these new Audio Technica ATM450 side address mics and they have a pretty tight pattern anyhow.

For LDC which you asked about, try the CAD M179 as you can dial those into any pattern you like which would be real handy in any situation.

There are tons of options really.

War

Actually, a live mic that hypes the high frequencies is useful live. It doesn't have to be real smooth either (those mains are not reference monitors).

The Studio Projects C1s have worked wonderfully for live overheads (more of a "Cymbal mic" in this application. I wouldn't use them for the HH, though.



-tINY

What I mean is: the Oktava's are well constructed and rugged enough to stand live use, possible high humidity, cold wind, stage smoke, some light stick hit as other mics do, or not? Since I never saw them I was wondering if they are too delicate so it's wise to use them only in studio. I'll surely treat them right, but you never know...

Some LDC too I'm sure they're rugged constructed and not so delicate to be used in live situations, apart from polar patterns that has to be tight as you said.

Anyone on the Audix ADX-51?

I wouldn't put the Oktava's anywhere that they might get hit, the ones I have are barely holding together! The screen portion of the capsule is very easily knocked off.

It really depends on what you're doing live. If you're going to be outside, I'd be real tempted to pick up an sm58, just in case. It's not an obvious choice for overheads, but it actually sounds useable, and it's not going be require phantom power, or be as sensitive to wind, etc. And an SM58 can take a LOT of abuse...

What about Audio Technica AE3000?
It's a LDC, it's small, cardioid and accepts high SPL's, some of you uses them for snare or toms, anyone used them as overheads?
Since I'd like to record jazz rehearsals, the full sound of a LDC would be better, as I read in a lot of posts.
Another interesting one is the AE5100, it's an LDC too, but end-addressed, do they have the same capsule?
The specs seem to be the same, but I guess the second one would fit better my needs because of the tighter pattern, am I right?

thanks

do you mean usable for a live PA or for a live recording, it realy is a different game.

if its PA work then for cheep mics ill stick to NT5s, reliable work horse mics versitile enough and will happily power off any questionable desks where other mics dont always perform very well. that said OH mics arnt needed in small venues anyway unless its soft music with a drummer with a light touch.

if its a live recording mabey something else. personlly i like the old AKG 451s but i dont know about the new ones.

LDC can be great when its a controlled enviroment but i would never risk them in an un-predictable enviroment.

havnt used teh ADX51 but as you mentioned the kit ill say the one thing negitive with the audix dynamics mics for drums is if theres alot of stage noise they dont dont have the best gain before feedback.

as far as dynamics for O/H ive never liked57/58 but e609s can sound good.

I meant both, live PA and live recording.heh
As a drummer I play in different bands and situations: Police Tribute band on open stages, jazz quartets in small clubs, soul with a female singer, so i'd like my overheads to fit good in all these contexts and also to record the rehearsals in my low-ceiling basement room.

thanx to all for the advices, I'm coming down to a few candidates

It doesn't sound like you need the drums in the PA at all.

I'd go with a good pair of overheads and a kick mic. Something like an XY pair of SM81s and a D112 or an RE20.

For a basement with a low ceiling, you probably want an AB set-up with boundary (PZM) mics attached to the ceiling.




-tINY

beyer m160!! the best ribbons for the price and they sound awesome on ohs. ( not quite like a coles but then the price ain't exactly the same ).
I just gave the 4050s a try on ohs the other day ( I usually like 'em on piano or toms) and they sounded really cool, I put them up there because a lot of people on this forum said they were cool and they were right, I didn't even mic the toms ( which is pretty rare for me ) and got a really tight live sounding drum.

holy crap! i just bought my pair of AKG C451B's and WOW! amazing on ovhd's. go buy them! NOW!

-JD

I find 451Bs way too bright. I think the older versions were better.

I think i'll choose one of those, they are rugged and seem to fit my needs.
Anyone has tried the AE3000 as overheads?
Opinions on the AE5100's?
Warehead suggested the ATM450, they seem pretty attractive also for the price!
The beyer's M160 are out of my budget...

so much gear, so little time...

The atm450 does indeed sound very cool!
I've never tried the ae3000 on ohs, but recorded toms with them once and they sounded very nice.
You can't really go wrong with audiotechnica, their mics are a great value for the price.