Having recently looked at recording drums with different stereo pairs of large diaphragm condenser mics, a friend of mine asked if I had ever tried any stereo microphones for recording what both he and I believe to be the most important aspect of the drum kit. Well my answer to him was no so I raided the Location Recordings mic locker to see what I had in stock and have come up with 4 amazing sounding, yet very different stereo microphones. Let’s see or rather hear which we like the best for recording drum overheads.

The Microphones

The mics we have to play with are a Royer Labs SF- 24, a Sontronics Apollo 2, a Vanguard Audio Labs V44S and an Antelope Audio Edge Quadro which is a modelling microphone.

The Rules

For this test, all the mics and models will be set to record or playback in the case of the Edge Quadro with a crossed figure 8 polar pickup pattern. This is also known as a Blumlein array named after the EMI recording engineer Alan Blumlein. The 2 capsules are set at 90 degrees to each other at 45 degrees to the sound source. This is why in the pictures some of the mics look like they are not 100% square to the kit.

All the mics are set up in the same position, which I agree is far to close to the ceiling of the drum room, but in this case, I have no other option. This is the space I have to work with.

Royer Labs - SF24

The SF-24 stereo ribbon microphone is a phantom-powered version of Royer’s popular SF-12 stereo ribbon microphone. It combines the SF-12’s high-quality audio performance, outstanding stereo separation and imaging with Royer’s exclusive active electronics system for ribbon microphones. The SF-24’s output of -38 dB is a full 14 dB more sensitive than the non-powered SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET’s used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB.

Features & Specs

• Acoustic Operating Principle: Electrodynamic pressure gradient with active electronics

• Polar Pattern: Crossed figure-8's

• Generating Element: 1.8-micron aluminum ribbon

• Frequency Response: 40-15,000 Hz +/- 2dB

• Sensitivity: -38 dB (re. 1v/pa +/-1dB)

• Self-Noise: < 18 dB

• Output Impedance: 200 Ohms

• Rated Load Impedance: 1K-Ohm

• Maximum SPL: >130dB

• Output Connector: Male XLR 5 pin (stereo*)

• Power Requirements: 48-Volt Phantom Only

• Dimensions: 270mm X 39mm (base) X 25mm (top) (10 5/8" X 1.5" X 1")

• Weight: 583 grams (20.5 oz)

Sontronics Apollo 2

Like the original, the Apollo 2 boasts two highly sensitive ribbon elements set in an X-Y Blumlein configuration, ideal for all stereo miking applications.

The Apollo 2’s uniquely designed, laser-welded cylindrical grille enables the microphone to capture a truly stunning and superbly accurate three-dimensional image. This means APOLLO 2 is perfect not only for orchestral, choral and piano recordings but also for capturing the ambience and character of your entire recording space.

Features & Specs

• Frequency response: 20Hz - 18kHz

• Sensitivity: 18mV/Pa -33dB ±1dB

• (0dB = 1V/Pa @ 1,000Hz)

• Polar pattern: Figure-of-eight (x2)

• Impedance: ≤150 Ohms

• Equivalent noise level: 10dB

• (A-weighted)

• Max SPL (for 0.5% THD @ 1kHz): 125dB

• Power: Phantom power 48V required

• Connector: 8-pin connector to two 3-pin XLR Neutrik connectors (cable supplied)

• Dimensions: 260 x 65 x 65mm

• Weight: 744g (1247g with shockmount)

• Comes with: stereo to two XLR connector cable, shock mount, aluminium flight case

Vanguard Audio Labs V44S

The Vanguard V44S is a stereo large-diaphragm multi-pattern FET condenser microphone. Lovingly crafted by experts over 2 years, it is designed to be a versatile, reliable, professional tool in the vein of highly-sought-after vintage stereo condensers of yesteryear.

With a pair of coincident twin custom-voiced multi-pattern capsules, you can utilize X/Y, Mid-Side, Blumlein, and other less conventional stereo microphone techniques in a single microphone. With an all-new detented heavy-duty rotation mechanism, premium cryogenically-treated FET circuitry, and a VLSM shock mount, the V44S is the first and last stereo microphone you’ll ever need to reach for.

Features & Specs

• Transducer Type: Condenser

• Capsule Size: 1.34″ / 34mm (dual-capsule)

• Diaphragm Size: 1.04″ / 26.4mm

• Capsule Diaphragms Thickness: 3µm

• Electronics Type: Solid-state, electronically-balanced output

• Output Impedance: 200Ω

• Max SPL: appx. 135dB

• Frequency Response: 20Hz-20000Hz

• Equivalent Noise Level: <=14dBA (A-weighted)

• S/N Ratio: >=80dB (Ref. 1Pa A-weighted)

• Finish: Polished Nickel trim / High-gloss Pinot Noir

• Weight (microphone): 1.11 lbs / 0.50kg

Antelope Audio Edge Quadro

Edge Quadro is the most advanced modelling microphone in Antelope Audio range. This stereo mic features two large dual-membrane capsules and a rotating head.

Delivering four channels for independent processing will allow for stereo techniques like M/S, X/Y, Blumlein, and even 3D sound. Edge Quadro is the only microphone you’ll need for stereo and 360° sound recording.

Edge Quadro boasts an extensive and ever-expanding library of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. The smart control panel allows users to pick two different mic emulations simultaneously, one for each head of the microphone.

Features & Specs

• Diaphragms: Two large condenser capsules with double-sided 6u-gold-sputtered membranes. The top head is fully rotatable.

• Diaphragm diameter: 34mm

• Multi-pattern (cardioid, figure-8, omnidirectional, Blumlein, M/S, X/Y)

• Self-noise: 19dB(A)

• SNR: 75dB(A)

• Frequency response: 20HZ ~ 20kHZ

• Sensitivity: -35dB | 18mV/Pa (-1 to +3dB)

• THD+N: -116dB

• Output impedance: 50 Ohms @ 1kHz

• Power requirements: 48V DC phantom power

• Output connector: 5-pin male XLR (x2)

The Audio Files

Below you will find 14 audio files to take a listen to. The files marked Overheads Only are just the stereo overhead mics with no EQ or dynamics processing applied. The files marked as Full Drum Mix are files that have all 14 of my normal drum mic channels live with EQ and dynamics processing.

Microphone Modelling

As mentioned before the Edge Quadro is a modelling or virtual microphone meaning that you can make it take on the tone of other microphones. In this case, you will see 4 pairs of audio files. The first pair labelled No Model is the Edge Quadro with no tone or modelling processing enabled. This is the mic as it sounds naturally. Where you see a C12 label I have applied Antelope’s Vienna 12 model to the recordings. Sac 121 is a model of the Royer 121 mic and Ox4038 is a model of the Coles 4038 vintage ribbon mic. There are many more models I could have chosen from but as we already have 2 ‘real’ ribbon mics in the test I thought it might make the results quite interesting.

Conclusion

I have been searching for the ultimate overhead micing solution for a very long time and to me, this is a two-part story. The stereo image or picture of the drum kit starts with the overhead and how they are spaced and positioned. In this test, I have done my very best to minimise these differences by always recording with a Blumlein configuration. The other factor I’m looking for is tone. As I think I have proven here when the overhead mic is in isolation it’s very obvious to hear the differences between the different mics and emulations. However, it’s not so easy to hear the difference when the mics are blended with the rest of the kit mics. It could indeed be said that I have set up a very modern sounding drum mix and if I was recording a jazz or soul type track I would mix very differently and the overhead sound would be more prominent but even in a rock setting I really do think you can hear the difference between the different tracks.

Ribbon mics by their very nature always sound darker with a less pronounced top end which can be great stop cymbals from biting your ears off. While the condenser models have a tight and bright top end that helps the drums cut through.

Which one is best? Well, I think that as always depends on the sound you are aiming for and the sound you hear in your head, and of course, when working or mixing, the term ‘best’ is very genre specific. Does that mean I’m sitting in the audio fence on this one? You bet it does.

Let us know which overhead mics you preferred and most importantly why in the comments below.