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The overhead mics are very important, and also the most
problematic in small studios. Ideally drums should be recorded
in a high room with the overhead mics 1 to 1.5 metres above
the cymbals and spaced apart by around the same amount.
In smaller studios, ceiling reections and wall reections can
aect the sound of the overhead mics making the kit sound
boxy so use your blankets, duvets and foam panels to ‘dry up’
the area around the overhead mics. Absorbers placed between
the mics and the ceiling can help enormously.
Another approach is to actually have the overhead mics almost
touching the ceiling as that allows them to behave as boundary
mics insomuch as reections from the ceiling, other than
directly behind the mics, can’t reach them.
A useful tip is to place the two overhead mics equal distances
from the snare drum centre so that there will be no phase
errors if the recording is played back in mono. The snare sound
is the most adversely aected by phase errors because of its
high frequency content.
When mixing, ensure that the close mics are panned to match
the stereo image captured by the overhead mics.
Piano
Pianos are usually recorded in stereo where you can use a pair
of spaced microphones (omni or cardioid spaced 1 to 1.5
metres apart) or a coincident pair of cardioid mics set at an
angle of 90 to 120 degrees. Condenser mics are the best choice
as they have the widest frequency range. For upright pianos,
remove the upper casework and position the mics around one
metre above the piano. For grand pianos, put the lid on its prop
and then stand the mics one to two metres from the piano
aimed at the centre of the inside of the open lid. There are
many other mic’ing variations for piano, including getting closer
to the strings for a more pop-style sound, so as always,
experimentation is the only way to get the best sound.
The Art of Performance
The Art of Performance
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