Maybe it works for some types of music, as the sample. For me definitely do not work at the professional status (in the case of a high end studio). It might work at the amateur or low end.
Obviously this is a Low End forum, but I still think that use SM57s in Overheads, is too basic (in any recording studio)
A matter of taste.
Regards!
Saying that an SM 57 is too basic for a professional studio is like saying that Neutrik XLR ends are too basic.
If it works, it works.
I recorded an acoustic guitar in XY with two SM 57s. The artist liked this sound better than the Kel HM7U or the Avantone CV-28 (even if the 57s were in mono.
I believe Fleetwood Mac used them as overheads on a couple of classic tunes.
Nothing wrong with it. Sometimes it is an appropriate sound for the song, especially if you have a bunch of other stuff happening in the high end (chimey acoustics, etc.) and just want some dry thud from the drums.
I would typically rather use ribbons for that type of thing. I've been meaning to try my Beyer201 as an overhead - it's like a smoother, more extended 57.
I believe Fleetwood Mac used them as overheads on a couple of classic tunes.
Nothing wrong with it. Sometimes it is an appropriate sound for the song, especially if you have a bunch of other stuff happening in the high end (chimey acoustics, etc.) and just want some dry thud from the drums.
I would typically rather use ribbons for that type of thing. I've been meaning to try my Beyer201 as an overhead - it's like a smoother, more extended 57.
Using ribbon mics as overheads puts a huge smile on my face during the mix stage.
I'm saying this as a drummer, but my general issue with overheads is the risk of getting too much hihat, cymbals and room effect. In an untreated room, a dynamic like the 57 would be best used close up to the drums to try to keep the room out of the recording. Room effect can seriously mess with the way drums record. But I admit I'm probably going against the normal thought that some kind of overheads are needed and desirable.
You can do it, and get good sounds, just keep in mind you aren't going to get anything above 15k and the transient response won't be as fast as more popular choices. But dynamics on overheads shouldn't be taboo.
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Kevin Bourassa
Peridot Sound Mobile Recording Service www.peridotsound.com
Quote:
Originally Posted by Plush
Eventually you should deploy the most expensive and best Mic you can get. It should be hideously expensive.
I've use 57's as overheads in plenty of situations with decent results.
Did a live jazz recording the other week with a single 57 as an overhead, actually turned out pretty well. Sure there are plenty of mics out there that would do a better job, but for a low cost mic, the 57 does an admirable job.
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Dust. Wind. Dude.
Progs - Reason 6, Live 8
Synths - Minibrute, Evolver, Blofeld, MoKeys
Drums - Korg EMX1, MaM ADX1
Guitars - LTD EC100, Hohner L75 Pro, Yamaha RBX375
Effects - Blackstar HT Dual, Aphex Acoustic Xciter, TCE Flashback, Red Witch Ivy, VFE Blueprint, MI Audio Tubezone, Boss ODB3, SPX 990
in an untreated room dynamics are best and as a home studio owner with some ok room treatment im using my condensers less and less and sticking with dynamic mics. they may not capture the transients as well or have that "crisp" sound but they come out sounding much smoother, less harsh and soo much easier to work with in mix.
the other day i was doing a vocal session and had a tube condenser set up alongside an sm57. the idea was to use the sm57 for effects like reverb and delay and keep the condenser as the dry signal.. when it came time to mix i ended up with only keeping the sm57 track.
Once upon a time before I owned any condenser mic's, I used a pair of SM57's as overheads. The cymbals never sounded right, but it worked to make a cassette demo of my band.
Given the budget, you're much better off using SM57's to close-mic an instrument and even using a very cheap pair of condensers. At least by my experience.
Geoff Emerick often used a single AKG D19, which is a dynamic mic similar to an 58/57, as a mono overhead with the Beatles. Inspired by Emerick, Flood used a mono SM58 in the same manner on U2's Achtung Baby, Zooropa, and Pop.
Dynamics can be great as overheads. It's going to net you a more lofi sound, but for some music, that's a cool thing.
MD421 can also be nice ! I used them few times, here just mono on each drum kit (two of them), it's a intro to a full concert so it's just drums for a minute or so
in an untreated room dynamics are best and as a home studio owner with some ok room treatment im using my condensers less and less and sticking with dynamic mics. they may not capture the transients as well or have that "crisp" sound but they come out sounding much smoother, less harsh and soo much easier to work with in mix.
the other day i was doing a vocal session and had a tube condenser set up alongside an sm57. the idea was to use the sm57 for effects like reverb and delay and keep the condenser as the dry signal.. when it came time to mix i ended up with only keeping the sm57 track.
I agree with this for the most part. I use an RE320 for virtually all vocals these days
are the drums only recorded with overheads and a kick mic on your soundcloud file?
The drums are recorded using 2 SM57 overheads (in the track I posted). Since my I/O resources are limited to 2 channels my alternate solution was to purchase an Alesis Trigger I/O. I used midi triggers on the kick, snare and toms and ran them through the Alesis into Superior Drummer followed by extensive editing.
Some of the other tracks are done purely on an Alesis USB Kit into Superior Drummer and others were tracked at another studio that has the good drum mics, pres, etc. Then came to me for mixing.
where did you put them and how far away from the kit? I tried it once in a shitty room with posh dynamics Beyer M201 mics but it sounded a bit thin and lifeless. I used them in recorderman position
had one about 3.5'-4' above the ride and the other 3.5'-4' above the hi hat, both mics were very slightly slanted and the drums were in the middle of the room towards the back wall. it was recorded in a 2 car garage with lots of open space, so the drums sound pretty big to begin with. What kind of pres were you using with the m201s?
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