Overhead Mic Placement for Drums

Overhead microphones serve as the foundation of most drum recordings, capturing the complete kit in stereo while providing cymbal detail and overall cohesion. Proper overhead placement determines stereo image, phase relationships, and the balance between drums and cymbals.

Spaced Pair Configuration

The spaced pair technique positions two microphones several feet apart, typically suspended above the drum kit looking down. This approach creates a wide stereo image with clear left-right separation of kit elements.

Common positioning places the microphones three to six feet apart, roughly above the rack tom and floor tom positions. Height typically ranges from three to five feet above the cymbals, though higher placement captures more room sound while lower placement increases drum presence.

Phase considerations require attention with spaced pairs. Different distances from microphones to the snare drum create timing differences that can cause phase cancellation. Many engineers verify that both overhead microphones sit equidistant from the snare to maintain centered snare image and prevent frequency comb filtering.

XY Stereo Technique

XY configuration places two microphones with capsules nearly touching, angled between 90 and 135 degrees apart. This coincident arrangement eliminates phase issues between the two microphones since sound arrives at both capsules simultaneously.

The trade-off involves narrower stereo width compared to spaced techniques. XY recordings translate perfectly to mono without frequency cancellation, making this technique valuable for broadcast applications and situations where mono compatibility matters.

Positioning the XY pair above the center of the kit, typically above the snare drum area, captures balanced left-right imaging. Angling the pair forward or backward emphasizes different kit elements in the stereo field.

ORTF Configuration

ORTF spacing positions microphones 17 centimeters apart with capsules angled 110 degrees. This technique, developed by French broadcasting organization ORTF, provides wider stereo imaging than XY while maintaining better mono compatibility than widely spaced pairs.

The configuration mimics human ear spacing and angle, producing a natural stereo image that translates well across playback systems. Many engineers consider ORTF the best compromise between stereo width and phase coherence.

Positioning follows similar principles to XY, with the pair centered over the kit at appropriate height. The fixed spacing and angle simplify setup while providing consistent results.

Recorderman Technique

The Recorderman technique uses geometric relationships to ensure phase coherence. The first microphone positions approximately 32 inches directly above the snare drum, pointing straight down. The second microphone positions 32 inches from the snare, over the drummer’s right shoulder, also pointing at the snare.

This equal-distance approach guarantees the snare arrives at both microphones simultaneously, centering the snare in the stereo image and preventing phase cancellation. The technique works particularly well in situations where minimal microphones must capture a full kit sound.

String or a tape measure confirms the equal distances during setup. The floor tom typically appears prominently in the shoulder microphone, while the hi-hat dominates the overhead microphone, creating a balanced stereo image.

Height and Angle Considerations

Microphone height dramatically affects the overhead sound. Lower positioning increases drum presence relative to cymbals and reduces room ambience. Higher positioning captures more room sound and produces a more distant, ambient character.

Most configurations benefit from heights between two and four feet above the cymbals. Specific height choices depend on cymbal loudness, room acoustics, and desired drum-to-cymbal balance.

Microphone angle affects frequency response and focus. Pointing microphones straight down at the drums captures more shell attack and less cymbal wash. Angling toward the cymbals emphasizes their presence in the overheads.

Microphone Selection

Small-diaphragm condensers dominate overhead applications due to their extended high-frequency response and accurate transient capture. Matched pairs from manufacturers like Neumann, Rode, and AKG ensure consistent imaging across the stereo field.

Large-diaphragm condensers offer warmer alternatives with smoother high frequencies. Some engineers prefer the less brittle cymbal sound these microphones provide, particularly in jazz and acoustic music contexts.

Ribbon microphones provide distinctly different overhead character with rolled-off high frequencies and natural warmth. This darker sound suits genres where aggressive cymbal brightness proves problematic.