When I record the overheads in my living room where my board and crapass recording gear sits. I find the tone of the kit is in the overheads, so I don't hi pass up to 500 hz, as a matter of fact I don't eq at all on the way in, BUT that's what works for me, and it also depends on how you use the overheads. For me when I get drum sounds, I start with the overheads, and then bring up the rest of the mics. Brad I noticed in the Skid Row thread that Michael Wagener was really carving up the low end on his overhead tracks (done with an SF12) using the Great River EQ. Ok, here's a question, I finished tracking a set of nice sounding Pearl Export Series in a small dead room with a pair of ECM 8000's as overheads; I placed them L & R of the set at about shoulder height, then placed a PG 52 inside the kick drum and a 57 for the snare. Start by dropping out the sub-bass kicks in your EQ by using a low-cut filter, cutting or rolling off anything below the 40 kHz range. Overheads EQ. thanks 02-01-2008 #2. mixsit. Sign in to disable this ad hey guys. do u like to use some of the lower end and try and pick up the whole kit? I find if you have a normal 8 foot ceiling room with a drum set in it the snare drum is pretty much going to be to prominent in the room. So, I pull some of the snare out of the OH and try to use the snare drum mic, in my case a unidyne III. What I do is put a cut where the snare is at. I haven't rolled off any low end in my overhead mics for a very long time, but I think I may try it again and see what it gives me. eq on overheads? i was wondering about how you guys like to eq your overhead drum mics. That will clean up any nasty rumbling sounds. Hi , it depends on the eq's i'm using, my favourite overheads signal chain is an rca\Neumann ba-71a discrete preamp to a matched pair of custom pultec eqp1a i have , with the pultec i'm boosting in the 6.3k area and i'm filtering all from 200hz down ,depends on the style of music i sometimes filtering from 700hz down , but usualy i'm filtering all from 400hz. or do u like to cut the lower end and just try and pick up cymbals and let the close mics do the rest? let me know what you guys like to do. Whichever approach you choose you need to know how to start with EQ on overheads. Since the main purpose of the overheads is to capture the sounds of the cymbals as well as the overall drum set in the room, you want to get rid of some frequencies that aren’t going to play nice. Others use overhead channels for top end cymbal sizzle which complimenting the sound of dryer sounding spot mics. Cymbal bleed down kick, snare and tom spot microphones is common place in multi-track drum recording.
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