Overheads with Jeff Sandstrom

Overheads with Jeff Sandstrom

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Overheads with Jeff Sandstrom

301 Audio Mixing

Description

Explore the sophisticated approach to mixing overheads in a drum kit, with Jeff Sandstrom. He walks through capturing the entire kit, not just cymbals. This method requires precise microphone placement. It also involves a series of audio processing techniques that are aimed at achieving a balanced, room-like sound. Strategic EQ, compression, and de-essing can sculpt a rich and enveloping drum sound to complement the rest of the band in a live environment.

Key Points:

Overhead mics should be positioned close to the kit. They are measured from the center of the snare to ensure consistent timing and sound capture across the kit.
Jeff uses a high-pass filter, initially set at 170 Hz. It is then adjusted to capture the toms and snare while reducing the kick drum’s presence.
The midrange EQ is tailored to reduce boxiness, especially in the 432 to 500 Hz range. This enhances the clarity and character of the toms and cymbals.
Compression is applied with a slow release. It aims to extend the cymbals’ washiness and create a more dynamic sound.
A de-esser manages harshness in cymbals, especially around 2300 Hz. It reduced unwanted frequencies by about 6dB.
The overheads function more like traditional room mics. They capture a comprehensive picture of the drum kit and contribute to a more natural, room-like sound.

Explore the sophisticated approach to mixing overheads in a drum kit, with Jeff Sandstrom. He walks through capturing the entire kit, not just cymbals. This method requires precise microphone placement. It also involves a series of audio processing techniques that are aimed at achieving a balanced, room-like sound. Strategic EQ, compression, and de-essing can sculpt a rich and enveloping drum sound to complement the rest of the band in a live environment.

Key Points:

Overhead mics should be positioned close to the kit. They are measured from the center of the snare to ensure consistent timing and sound capture across the kit.
Jeff uses a high-pass filter, initially set at 170 Hz. It is then adjusted to capture the toms and snare while reducing the kick drum’s presence.
The midrange EQ is tailored to reduce boxiness, especially in the 432 to 500 Hz range. This enhances the clarity and character of the toms and cymbals.
Compression is applied with a slow release. It aims to extend the cymbals’ washiness and create a more dynamic sound.
A de-esser manages harshness in cymbals, especially around 2300 Hz. It reduced unwanted frequencies by about 6dB.
The overheads function more like traditional room mics. They capture a comprehensive picture of the drum kit and contribute to a more natural, room-like sound.