Today we’re going to discuss drum overheads. We’re starting out with 3 different types of microphones – things really typical to see in drum overheads. You’ve got a FET Large Diaphragm Condenser (LDC) with the Neumann U87. You’ve got a FET Small Diaphragm Condenser (SDC) with the Neumann KM184 and then we have a Ribbon Mic with the Coles 4038. The condenser mics are (or are set to) Cardioid polar pattern, while the Coles like most ribbons, are a Figure-8 polar pattern. This means they have a bi-directional pickup and are side-address.

Generally SDC’s are going to be the most detailed and the tightest of the bunch. LDC’s, being a condenser, you’re still going to have a good amount of detail, however you’re going to get a bigger image of the kit and a little bit of smoothness with the upper mids and highs. Normally LDC’s have greater low-end extension than SDC’s, but SDC’s render tighter lows. Something to note here is that both the LDC (Neumann U 87) and the SDC (Neumann KM 184) that we’re using in this test have a FET (Field-Effect Transistor) Circuit and also have an Output Transformer. Both FET and Transformers help to smooth and thicken the sound, as well as adding harmonic richness – much like tubes, but in a more focused way. And lastly, we have ribbons, which are the most different. Typically ribbons are going to be darker, and a little richer. Chances are you’re going to have to add a little bit, if not a good amount of top end EQ back into it just to open things up in the highs. This is referred to as “top lift”.