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Anyone use a single overhead mic.
Old 26th December 2002
  #1
Lives for gear
 
2 Reviews written
🎧 15 years
Anyone use a single overhead mic.

Does anyone do this to avoid an phase problems? Also, either way do you prefere large or small diaphram?
Old 26th December 2002
  #2
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e-cue's Avatar
 
🎧 15 years
verrrrrrrry rarely. A C12 works pretty nicely.
Old 26th December 2002
  #3
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Knox's Avatar
 
🎧 15 years
Sometimes . . if i am going for an old sound or an old vibe on a track. I use a large diaphram. I like that sound.
Old 26th December 2002
  #4
Lives for gear
 
Mike Tholen's Avatar
 
🎧 15 years
a single Coles 4038 works wonders.
Old 26th December 2002
  #5
Gear Maniac
 
🎧 15 years
Well yes and no, a single stereo mic. For live gigs a VP-88 works great, in the studio a Royer or Neumann stereo is quick and sounds good every time.
Old 26th December 2002
  #6
Lives for gear
 
toledo3's Avatar
 
🎧 15 years
When I'm recording one of my own projects, I almost always use a mono overhead- it's just what I like.

When I record anyone else, I set it up in stereo.

Any opinions about xy verses spaced? I find myself switching back and forth for diferrent sounds. I definitely find that I get a "smaller" stereo image from the x/y.
Old 26th December 2002
  #7
Motown legend
 
Bob Olhsson's Avatar
 
🎧 15 years
I try to always set up my overheads in such a way that I can use one of them as a single overhead in the mix. I learned early on that keeping that option open is always a good idea.
Old 30th December 2002
  #8
urumita
 
7rojo7's Avatar
 
🎧 15 years
I personally love mono drums, especially for jazz. I never have phase "problems" with multi mic. setups, phase is the element that makes it sound interesting, more interesting, say, than an Alesis HD16 and a digital reverb. I may use many mics. (3) on a kit and mix them all to mono and pan it to where I think the drums should be in my mix. I also like mono piano for the same reason. Using many mono elements gives me more space to mix, stereo everything sounds very mono to me and very confusing, it sounds like everybody's sitting on top of each other. Drum and piano ping pong match.
Jazz quintet:
Drums; snare, hat and tom spot mic. C-12, floor tom and cymbal spot mic. C-12, these are fairly close to the source with an open cardiod (half omni) setting, a U-47 on the floor at 3 times the distance as the other mics, low gobos in front high gobos in back.
Bass; KM-56 in the bridge with an elastic in omni and possibly the pickup in an amp as a band monitor (no mic, just more bassin the room) low gobos in front high gobos in back,
Piano; open with maybe a blanket if the cymbals become a problem, UMT70s in omni and not too close to the hammers because there's better balance between all the pitches and tones,
Tenor; U-67 high gobos in back something reflective close to one side,
Trumpet; JV74 or Beyer M500 high gobos in back something reflective close.
Band; A pair of spaced omnis (A_B) I start with this and mix in what's missing with delays on the spots
If the drummer's really good normally we won't have to stick the bassist in a booth or stuff the piano, which on remote is not easy. The players can hear each other without phones, sometimes I'll run a little pno, sax or whatever I happen to need in the studio or folback monitors. It's really easy to get this to work in the proper room and putting the musicians in a good setup. On location I bring a truck full of gobos and reflective panels with me.
This is to explain why I like mono, not mono overhead. It makes my stereo better.
I have two "overheads" (A_B) that I mix quasi mono anyway. Every mic. acts as an ambience mic. for all the others. I pan all of the spot mics to where I see the band, I pan the Band mics. at 3 and 9 O'Clock and I always save the extreme left and right for effects and delays, this makes my mixes more spacious, but in reality having only one "stereo" reference.
I hope this helps you, it works for rock and roll too. treat the space right keep the musicians interested and voilà. Otherwise a mono over head works great. But if you're doing deathmetal drums don't waste your time, double mic. every drum and mike every cymbal A_B room mics., you can end up with 20 mics. going to 10 tracks but it works for this type of music
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