Overhead Mic Options: Capturing the Full Kit

Overhead mic options range from affordable small-diaphragm condensers to premium ribbons, each imparting different character to overall kit capture. As overheads capture the entire drum kit from an elevated perspective, microphone selection significantly affects the complete drum sound. Understanding different overhead options enables choosing the right microphones for specific production requirements.

Small-Diaphragm Condensers

Small-diaphragm condensers (SDCs) are the most common overhead choice. Their extended high-frequency response, fast transient capture, and consistent polar patterns suit overhead applications well.

The sound tends toward detailed and accurate. Cymbals are captured clearly; transients are preserved. The character is generally neutral to bright.

Matched pairs ensure consistent stereo imaging. Most SDCs are available as factory-matched pairs specifically for stereo applications.

Price ranges from affordable (Rode M5, Audio-Technica AT2021) through mid-range (AKG C451, Shure SM81) to premium (Neumann KM184, Schoeps CMC).

Best applications: most drum recording, especially when cymbal detail and transient clarity are priorities.

Large-Diaphragm Condensers

Large-diaphragm condensers (LDCs) provide different character than SDCs. The larger capsule creates different transient response and often warmer frequency character.

The sound tends toward smoother and fuller than SDCs. High-frequency detail may be slightly less sharp; low-mid content may be more prominent.

Single LDCs work well for mono overhead applications. Matched pairs for stereo are less common than SDC pairs but available.

Popular options include AKG C414 (highly versatile), Neumann U87 (premium studio standard), and Audio-Technica AT4050 (quality at moderate pricing).

Best applications: overhead applications seeking smoother character, single mono overhead setups, productions prioritizing warmth over detail.

Ribbon Microphones

Ribbon microphones provide unique overhead character with smooth high-frequency response and figure-eight polar pattern. The sound differs notably from condenser options.

The high-frequency roll-off natural to ribbons creates smooth, unhyped cymbal capture. This character suits productions where cymbal harshness is a concern.

The figure-eight pattern captures significant room sound from behind the microphone. This can be beneficial in good rooms or problematic in poor rooms.

Classic options include Royer R-121 and Coles 4038. Modern alternatives from AEA, sE Electronics, and others provide various price points.

Best applications: productions seeking vintage or smooth character, excellent-sounding rooms where figure-eight pickup is beneficial, jazz and acoustic music.

Budget-Friendly Options

Affordable overheads can produce impressive results. The Rode M5 matched pair offers quality significantly exceeding its price point.

Other budget options include the Audio-Technica AT2020, sE Electronics sE7, and MXL 603S pairs. These microphones capture usable overhead sound while saving budget for other investments.

The performance gap between budget and premium overheads is smaller than some positions. Well-chosen affordable overheads can serve professional productions.

Premium Options

Premium small-diaphragm condensers like Neumann KM184, Schoeps CMC, and DPA 4011 provide exceptional detail and accuracy. The investment suits professional applications where ultimate quality matters.

Premium large-diaphragm options like matched Neumann U87s or AKG C12 clones provide warm, full overhead character. These choices suit specific aesthetics.

Vintage ribbon options like original Coles 4038 or RCA 77DX provide character unavailable from modern alternatives. The maintenance requirements and fragility require careful handling.

Matching Overheads to Production Style

Rock and pop typically use SDCs for their detailed cymbal capture and transient clarity. The bright character suits energetic productions.

Jazz often favors ribbons or LDCs for their smoother character. The natural, unhyped sound serves acoustic aesthetics.

Metal may use SDCs for cymbal clarity or ribbon for controlled high frequencies depending on specific production goals.

Acoustic and singer-songwriter applications benefit from overheads matching the production’s warmth or clarity goals.

Practical Considerations

Matched pairs provide consistent stereo imaging. The factory matching ensures both microphones respond identically.

Polar pattern selection affects room contribution. Cardioid patterns reject rear sound; figure-eight captures it; omnidirectional captures everything.

SPL handling matters for loud drummers. Most condensers handle drum SPL adequately; some may require pad engagement for extreme volume.

Budget allocation between overheads and close mics depends on the production approach. Overhead-focused techniques justify premium overhead investment; close-mic-focused productions may economize on overheads.