The second clip contains two different performances, one as heard by the M-179 in Cardioid, and the other as heard by the M-179 in Omni. Although some here found them too dark – I don’t! But in the spirit of pursuing subtle improvements using whatever gear is at hand, here are my listening notes. To these bruisers we added some of the favorites from Prairie Sun’s mic locker: The Neumann KM 85 is a really interesting microphone. I think Mooka wanted to know if something contemporary would suffice — with the added benefit of not being impossible to replace if one inadvertently hits the ground. Same with the beyerdynamic MC-930, which I’d liked so much in a previous drum overhead mic test and only recently returned — I might just need to buy a pair. document.getElementById('sekritButton').style.display="none"; The Neumann KM85 has a low-end rolloff that starts way up at 500Hz. I tested blind on headphones and wrote my preferences: 2,3,5 and 10 – the rest was fine but had some issues. I rather preferred the sound of the STO-2, at least in this test. Of course, just as the proximity effect of a cardioid mic makes for increased low frequency when close mic’ing, the opposite is true that the low frequency is attenuated with distance. function reveal2() { If you want your overhead mics primarily for cymbals, this built-in EQ curve gives exactly what you want. The Mojave MA101s’ off-axis almost sounds phased, though this could be mic position. The STO-2 (first third) has more LF than the M-179 (last third), but again, it’s subtle. In the final third (M179, cardioid), the sound is a bit thin and lacking in the low-end, especially as compared to the STO-2 pair. I can’t help but immediately start thinking of all the microphones I’d love to put above a drum kit — old favorites and new contenders too. Overhead mic shootout: STO-2, MK-012, M179, Drum overhead microphone technique comparison, The Quest for the Ultimate Live Sax Microphone. I liked the Earthworks next best, followed by the AKG. All three files contain a 4-bar drum pattern, three times in a row (as heard by each of three different pairs of mics. I was not so wowed by the vintage mics as I expected to be. The M 179 sounds flat and somewhat dull. The Oktava diaphragms measure 17.5mm. My live room is small, about 14'x14'x8', and although I deploy acoustic foam liberally in an attempt to reduce reflections and bass build-up, I had concerns about recording more of the room sound than I’d get with cardioid mics… because I think the room sound sort of sucks. Would specifically like to try some more large diaphragm condensers (since I have mostly small diaphragm condensers on hand at this point). For all these tests, I used the mic preamps in a Presonus Digimax FS, and recorded directly into Pro Tools at 44.1 kHz / 24-bit, with no compression or EQ. The drums sound bigger. This sounds like the truest representation of the drum kit, and after my first few listens it was my favorite of the three in this test. Please let me know any more information/tips on working with the Oktava’s and overheads in general, there seems to always be so much to consider besides the mics (placement, preamps, compression, phasing etc.) The differences were easily audible via MP3s played back on my desktop stereo speakers. On the other hand, these mics didn’t reach as high or as low as the Oktavas. (And then scroll down to hear the mics again in a deader space. My OktavaMod MK-012 pair impressed me with their high-end response. I can identify about half these mics on a blind listen. A few friends and I plan on conducting a drum overhead mic shootout very soon, will be happy to post high quality clips when done. Mega Overhead mic shootout completed When you buy products through links across our site, we may earn an affiliate commission. Assuming there would be close mics on the drums, and the OH pair would be used primarily for cymbals, this might actually be a good thing. I'm still looking to get a few more pairs of mics for this shootout. Reviews like this are the product of dozens of hours of work. So, where does that leave us? The Earthworks Audio SR40 is the company’s ultimate Cardioid condenser: pristine electronics mated to hand-selected and tuned 9mm electret capsules, with a flat frequency response (±0.5dB) from 30Hz–40kHz. I was impressed with the AKG Acoustics C 460 B. As with the rest of the mics here, we used this mic in Cardioid mode. Very controlled and no nasty reflections I could hear. But for a drier result, the Oktavas bring a nice HF extension and what I’ve come to think of as a super-accurate and detailed sound. I admit it, I get the shakes when someone says drum overhead shootout. Before getting into specifics, I’ll say that I found the differences between these mics to be subtle, and they changed based on what I’ll generously call my “monitoring environment” (a collection of consumer-grade speakers and headphones). The thing to know about the Milab DC-96 microphones is that the diaphragm is rectangular. The Oktava MK-012s are the worst offender in this area, where the high end sounds harsh and 4K pushed. document.getElementById('sekritB' + x).style.display="block"; After the session, I fine-tuned the gain levels in Pro Tools so all stereo tracks were at the same perceived volume, exported as 24-bit WAV, and converted to 320kbps MP3 via lame.

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