How To EQ Drum Overheads + Drum Overhead Mic Placement

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Overhead microphones catch the full sound of a drum kit. They pick up the cymbals’ shimmer and the room’s vibe, making the drums come alive. Without them, the beat might feel flat, missing the crisp highs and wide space that bring energy to a song. Many pro drummers and sound engineers swear by overheads to nail that perfect balance and punch. For anyone wanting their drum recordings to pop and feel real, using overhead microphones is a game changer. Keep reading to find out why they make all the difference in creating music that hits just right.

They pick up the cymbals, the toms, and the general ambience of the kit, providing a cohesive and balanced representation of the drummer’s performance.

However, to truly optimize the sound of the overheads, you need to EQ them well.

In this article we’ll cover how you can not only EQ your drums but also on how to nail your drum overhead mic placement to get the best possible mix.

Overhead Mic Placement

photo of a drum kit with overhead microphones positioned above it

It’s important to start with the best possible overhead mic placement.

Without a good recording you’re going to struggle to get a clean and punchy sound when EQing.

The positioning of the mics can have a significant impact on the captured sound, affecting the balance between cymbals, toms, and the overall kit.

Experiment with different placements to find what works best for your specific kit and recording space.

Here are some common methods for your overhead mic placements:

Spaced Pair (A/B Configuration)

Placement: Position two cardioid or omnidirectional microphones a few feet apart above the drum kit, typically aiming down at the cymbals.
Stereo Image: Provides a wide stereo image but may introduce phase issues.
Distance: Ensure both mics are equidistant from the snare to avoid phase problems.

X-Y Configuration

Placement: Use two cardioid condenser mics arranged with the elements as close together as possible at a 90-degree angle.
Stereo Image: Offers a focused, phase-coherent stereo image.
Height: Place them directly over the snare to keep it centered in the stereo field.

ORTF Technique

Placement: Position two cardioid condenser mics 17 cm apart, angled 110 degrees from each other.
Stereo Image: Provides a phase-coherent stereo image with more width and cymbals relative to the rest of the drum kit.

Glyn Johns Technique

Placement: One mic is placed 3-4 feet above the snare, and the second mic is placed over the drummer’s shoulder, looking towards the hi-hat.
Stereo Image: Ensures both mics are equidistant from the snare, offering great coverage of the entire kit.

Recorderman Technique

Placement: One mic is placed directly above the snare, about two drumsticks’ length above it, and the second mic is placed over the drummer’s shoulder, also pointing at the snare.
Stereo Image: This technique helps avoid phase issues and keeps the kick and snare centered.

Mid-Side (M/S) Configuration

Placement: Use one cardioid mic pointing directly at the sound source (mid mic) and one figure-of-eight mic set perpendicular to the mid mic (side mic).
Stereo Image: Provides a highly controllable stereo image and is mono-compatible.

General Tips for Overhead Mic Placement

Height Adjustment: Adjusting the height of the mics can control the amount of room sound and stereo width. Higher placement captures more room ambiance, while lower placement offers a tighter sound.
Phase Issues: Always check for phase issues by ensuring mics are equidistant from a central point like the snare drum.
Ambience Control: Bringing the mics lower reduces ambience, while raising them increases roominess.

Let’s now cover the EQing of your drum overheads.

Identifying Frequencies To Cut

a man playing drums with a microphone together with cymbals

When EQing overheads, it’s often necessary to make strategic cuts to problematic frequency ranges.

Low-end rumble and muddiness, typically below 100-200 Hz, can clutter up the mix and make the drums sound boomy and indistinct.

Use a high-pass filter to gently roll off these low frequencies, cleaning up the low end and allowing the kick and bass to occupy that space instead.

Another common issue is boxiness from snare bleed, which often resides in the 200-500 Hz range.

A narrow cut in this area can help reduce the boxy character and improve clarity.

Harsh cymbal frequencies, usually around 3-5 kHz, can also be tamed with a precise cut to smooth out the overall cymbal sound.

Frequency Range	Problem	Solution
Below 100-200 Hz	Low-end rumble, muddiness	High-pass filter
200-500 Hz	Boxiness from snare bleed	Narrow cut
3-5 kHz	Harsh cymbal frequencies	Precise cut

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Boosting Frequencies for Enhancement

In addition to cuts, targeted boosts can enhance the positive aspects of the overhead sound.

Here is a table of the frequency ranges and boosts to make to these areas for a specific sound:

Frequency Range	Description
8-12 kHz	Add “air” and brightness to cymbals
5-7 kHz	Enhance attack and stick definition
100-250 Hz	Fatten up toms in the overheads

EQ Techniques and Tips for Drum Overhead EQing

When applying EQ to overheads, a combination of different techniques can yield the best results.

High-pass filtering is essential for removing low-end rumble and cleaning up the mix.

Surgical cuts with a narrow Q (bandwidth) are ideal for precisely targeting and taming specific problem frequencies without affecting the surrounding areas too much.

For enhancing desirable ranges, gentle broad boosts with a wide Q can add character and dimension without sounding unnatural.

It’s also crucial to check the phase alignment between the overhead mics, as phase issues can cause frequency cancellations and a thin, weak sound.

Adjust the mic positions or use subtle time-alignment tools to ensure good phase coherence.

Here is a summary of the tips and techniques:

Use high-pass filtering to remove low-end rumble
Make surgical cuts with narrow Q to tame problem frequencies
Apply gentle broad boosts to enhance desirable ranges
Check phase alignment between overhead mics
Adapt EQ to complement close mics and overall mix

Genre and Style Considerations

a woman positioning the microphone of the drum kits

The approach to overhead EQ can vary depending on the genre and desired drum sound.

For more open, natural-sounding drums, a lighter touch with EQ can be appropriate, preserving the inherent character of the kit and room.

In contrast, modern, polished drum sounds often benefit from more aggressive EQ, with stronger cuts and boosts to achieve a tighter, more focused sound.

Consider the overall production style and how the overhead EQ complements the close mics on individual drums.

The goal is to create a cohesive and balanced drum sound that fits the musical context.

Here is a table of the EQ approach to your overhead drums by genre

Genre	EQ Approach
Jazz	Light, preserving natural kit sound
Rock	Moderate, balancing punch and clarity
Metal	Aggressive, tight and focused sound
Hip-hop	Strong low-end, crisp high-end for cymbals