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[Caleb Dueck]

I'm not sure I understand; why are you putting the source of the sound in the microphone's null?

My first thought as well, until I assumed he meant rotate by 90 degrees, so half the pattern picks up the kit, the other half picks up the ceiling (far upstage of the mains).

[Scott Helmke]

My first thought as well, until I assumed he meant rotate by 90 degrees, so half the pattern picks up the kit, the other half picks up the ceiling (far upstage of the mains).

I do that for vibraphone or marimba in a band context, assuming there's a high enough ceiling. 

[Dave Pluke]

I'm not sure I understand; why are you putting the source of the sound in the microphone's null?

-Russ

Thought it might capture two sides of the kit, with the snare fending for itself or bleeding through other mics. That was assuming a small, non-rock band volume group. But guess not. I've done TWO overheads plus Kick before on jazz kits, but never tried a single OH + Kick.

Dave

[Helge A Bentsen]

DPA 4015.
Not because it’s the most expensive solution(it’s a bit pricey), but it has a rather interesting proximity tuning.
It’s tuned with it’s linear point at a longer distance from the capsule than most mics, resulting in less low end loss over distance. That combined with it’s wide cardioid pattern give you a pretty beefy sound with little off-axis coloration compared to a lot of other mics.

[doug johnson2]

I am very much a fan of three mics on a kit, kick and two overhead in a modified Glyn Johns pattern.  I have done two mics with a ATM 250 clipped onto a bass drum lug and a single SM81 as an overhead.  I was the drummers set up of choice and sounded very good.  I know someone that regularly uses two mics, a Sennheiser E602 and a AKG C1000s and an overhead, he gets a very good sound.

[Thomas Le]

Wonder how a VP88 would fare for OP...

[Rick Earl]

Just spitballin' here, but has anyone tried a ribbon (figure 8 pattern) turned sideways as an overhead in a single OH mic setup?

Dave

I use ribbons all the time live.  For the OP, A kick and single overhead, I prefer the large ribbons like an AEA N8 or R84.  I've done that set-up a few times the past couple of years with a jazz set-up.  Sounds good, easy and balanced.  The ribbons tend to tame the harshness of the cymbals a bit and still let the attack of the snare and toms come through. 

As for your comment, Yes, I work the a drum that just has 2 cymbals in his kit , a ribbon between them is killer and isolates the rest of the kit from the OH.  If you're reall looking to isolate all of the sounds of the kit, it is the way to go. 

[Ned Ward]

I use an AT PRO37 on Overhead, facing away from the snare/hat. Another PRO37 on the high hat, with '57 on snare and a D6 on Kick. Plenty to work with and the mics sound better than their price.

[Woody Nuss]

Sennheiser MKH40 or 50. The 50 can really make the floor tom jump if you point it slightly across the kit towards floor/ride. The 40 pointing straight down positioned slightly to the floor tom side to balance out snare/hat. So goood.

[John Bosco]

Wonder how a VP88 would fare for OP...

I use one all the time for drum overheads, I really like the sound and imaging, it's a heavy mic though.

[ProSoundWeb Community]