In the never-ending search for drum recording perfection, it’s time to have a play with some large diaphragm condenser mics in stereo configurations and use them to record drum overheads. We are trying out 4 different mics with a simple goal. Which of these mics works for recording what is to my mind the most important part of a drum kits mic arrangement.

Why Are Overheads So Important?

It has been proven time and time again you can get a great drum sound using a very small number of microphones. I’m sure we are all aware of the Glyn Johns technique of using a spaced pair of mics but sadly I do not have the space to make this work in my studio. I am simply looking for the best possible sound from a stereo pair above the kit.

The Microphones

I have raided the Location Recordings mic locker and come up with four microphones (actually 7) that I have used in the past for recording overheads but have never been able to put side by side in a real-life test.

JZ Microphones - Amethyst: This is a really great all-rounder. I have used it to record vocals, acoustic guitar and now drum overheads. This mic was originally designed by Violet Microphones but they have been recently acquired by JZ. The shock mount has been redesigned by the team at JZ and now offers good mounting options depending on how you have the mic suspended in the elastic.

Features

• Premium quality 1" condenser microphone

• Golden Drop Technology

• Class A discrete amplifier circuit

• Extremely low self-noise

Warm Audio - WA-87: I have said many times I am not a fan of the new bread of 87 style microphones. However, what Warm Audio have done with their WA-87 is make an 87 style mic with top end and warmth that I really do like. For this test, both mics were set to cardioid pick up pattern with no pad or roll-off. Due to the nature of mounting the mics from above on a stereo bar and the WA-87s mounting hardware I was not able to get the same angle of attack to the kit as I had set with the Amethyst mics. But it’s pretty close and their separation is about the same. The height from the drums is also the same.

Features

• Large condenser microphone based on the classic “87” style circuit

• Cardioid, Figure of eight and Omnidirectional pickup patterns

• -10dB PAD.

• Cinemag USA Output Transformer

• Output: 150 Ohms, 24K Gold plated 3 pin XLR.

• High Pass Filter at 80HZ

• Noise: -117DB

Sontronics - Saturn: This is pretty much my go-to first call microphone. If I do not know the vocalist I’m working with or if I have not recorded a particular instrument the Saturn is a great place to start and is often the mic I will go with because it just works. Designer Trevor Coley has done an amazing job of giving the mic an output stage that makes everything sound radio-ready. Very often I find there is no need to EQ a vocal recorded using the Saturn. The mic, in this case, is set to a cardioid pattern with no pads or filters.

Features

• Five-pattern condenser microphone

• Road-tested by producers Flood and Alan Moulder

• 3-stage pad and filter controls

• Unusually warm valve-like sound

• Detailed, natural results that sit perfectly in the mix

• Unique Sontronics shock mount

Vanguard Audio Labs - V44S: I know this is strictly speaking not a fair test anymore as the V44S is a single point stereo mic as opposed to a pair of mics in a stereo configuration but hey, I wanted to see how using a stereo mic versus a pair of mics compared in my very compromised drum room. The V44S is a great room mic as it offers 3 different polar patterns on each of the matched capsules. In this case, I have both capsules set to cardioid, 90 degrees to each other at 45 degrees to the drum kit. In theory, at least this should give the most in phase recording even if it does not give the most interesting stereo image.

Features

• Twin custom-voiced, edge-terminated 34mm dual-capsule assembly with 3µm gold-sputtered Mylar diaphragms

• 3 independently selectable polar patterns per capsule

• Electronically-balanced solid-state circuitry loaded with premium-grade components

• Ultra-low-noise JFET design

• Deep-cycle cryogenic treatment of critical signal & power path components

• 90º rotatable top capsule with 15º detents

• Versatile splitter box for mobile & live recording conditions

The Audio Files

Below you will find 8 audio files of 4 similar takes of drums. The full mix has EQ and effects (reverb) but no dynamics processing. The Stereo Overheads Only versions are just that but with no EQ or effects applied. It’s the mics sounding just as they did through the preamps.

The Results

I really do think this was a very interesting test. As I said, I have used all of these mics at some point for recording drum overheads but never had the chance to really A-B-C-D them together.

To my ears at least the WA-87 sound the darkest. Great for a more soul or jazz style. The Saturn sounds the most polished. The V44S and the Amethyst sound the most neutral. Both sound great and very useable but the other two mics definitely impart their sound onto the recordings. The Saturn is probably the closest for what I would go for once I had applied EQ and processing so it’s nice to be able to get this sort of sound directly from the mic.

Let us know in the comments below which mics you like or preferred and why.