I have had the opportunity to mic up and record many drum kits in my time as a performer and in studios as a producer. The variety in terms of kit sizes in relation to kick, snare, toms, hats, cymbals, and other percussive instruments can be combined with a massive variety of microphones to produce almost any sound imaginable. Here is an article detailing every mic situation and drumkit you can think of and how to mic them up.
Depending on the size of your drum kit and the microphones you have available or can purchase, you can mic up a drum kit with as little as 2 microphones and as many as 24 microphones. All microphones would consist of a variety of cardioid and omnidirectional microphones, and each would be used accordingly to their design and the components of the drumkit.
In this article, I will go over the different types of microphones you get and can use for micing up a drumkit. Then we will go over the general mic setup for a standard 5 piece drumkit using 2, 3, 4, 5, and more microphones.
Then we will discuss the setup regarding 5 microphones and above. We then go into a full drumkit microphone review, so if you are looking to purchase any drum microphones or well-balanced all-round microphones you can use for a kit, you don’t have to look any further. Lastly, we will look at some pro tips for recording a kick drum and snare drum and go over live performance recording.
Index
- What type of microphones can you use to record drums?
- Microphone polar patterns
- How many mics do you need to record drums?
- What size drum kit do you have? (how many pieces?)
- Microphone setup
- Microphone placement
- Micing up a kick drum
- Micing up a snare drum
- Live performance recording
- Drum kit microphones review
- Conclusion
What type of microphones can you use to record drums?
Needless to say, you get hundreds of different microphones that are built with a specific design and for a specific purpose in mind. The drums are such a dynamic and large instrument that many variations and different types of microphones can be used, especially when the size of your kit is considered and then also what type of sound you are looking to record with them.
If you want tons of separation and the freedom to edit and manipulate each tom and cymbal sound, you would need more microphones (one for each piece of your kit).
Because microphones are designed in many different ways, and your kit can be large or small with even variations in sizes of toms and cymbals, we are going to take a quick look at what different types of microphones you get and which ones are more applicable to drums or certain parts of the drum kit.
Dynamic microphones
Dynamic microphones require no external power for them to be used. Dynamic microphones are built with 3 main components: the diaphragm, the voice coil, and the magnet (the magnet is permanently charged and creates a magnetic field).
So what happens is sound waves hit the diaphragm, causing the voice coil to vibrate. Because the voice coil vibrates within the magnetic field of the magnet, the microphone can convert the sound waves into an electrical signal that can then run along your audio cable and be subjected to editing and manipulation at the other end of it (usually, the cable will run into a mixer, amplifier, or an audio interface, etc.).
Due to the simplicity of their design, dynamic microphones are extremely rugged and can handle very loud audio signals very well. Furthermore, they are pretty good at background noise cancelation. On the flip side, a dynamic microphone has a very low sensitivity (low output volume), and then they also do not have a full frequency response.
Condenser microphones
A condenser microphone is also made up of 3 main components: the diaphragm case, the diaphragm, and the backplate. This design and how it functions is how the condenser microphone got its name.
You do get two types of condenser microphones. The first type is similar to that of dynamic microphones, where the capsule is permanently charged. The more common type is a condenser microphone that requires an external power source to power the capsule (this is your phantom power situated on your mixing desk or audio interface).
How a condenser microphone works is that the capsule is charged, creating a magnetic field. The sound waves then hit the diaphragm, causing it to move back and forth. Then the backplate translates and converts these sound waves into an electrical signal that can be sent down your audio cable for any type of audio editing (again usually to a mixer, amplifier, or audio interface).
One thing to note is that most condenser microphones, even your electret (permanently charged capsule) condenser microphones, will have circuitry in them. This could be in the form of a preamp or other components so that all condenser microphones will need phantom power.
Condenser microphones are the opposite of dynamic in terms of they are a bit more delicate because of their design and internal circuitry, but this allows them to have a wide and full frequency response. This, in turn, creates a more natural sound. Lastly, they will have a higher sensitivity (higher output volume).
Another thing to note is that you can damage the microphone and overdrive them with very loud audio signals because they are so sensitive. Lastly, because of the circuitry inside a condenser microphone, they do tend to generate a little bit of noise.
Watch Podcastage go over the differences between dynamic and condenser microphones.
Ribbon Microphones
Ribbon microphones are gaining popularity again because of their sturdy and more rugged design than that of ribbon microphones made way back when. A ribbon microphone works similar to other microphones.
The ribbon is suspended in a magnetic field, and when it vibrates, the audio signal is converted into an electrical signal.
One thing to note is that you do get active and passive ribbon microphones, so be sure you know which one you are getting because the active ribbon microphones require phantom power.
A very cool feature of a ribbon microphone is that because the ribbon is suspended in tension, the resonating frequency is higher in range than that of human hearing. This means you get the most amazing crystal clear highs and detail.
Another great thing about ribbon microphones is that their transient response is phenomenal. Ribbon microphones have a polar pattern of a figure 8 (they pick up sound from the front as evenly as sound from the back).
The last thing to note is that you want to protect a ribbon microphone from direct gusts of air, so it would be advisable to angle the microphone and use a pop filter if recording vocals.
Watch Sweetwater explain exactly what a ribbon microphone is and how they work.
Microphone polar patterns
Besides dynamic and condenser microphones, microphones are designed with specific polar patterns. This means that they pick up audio signals from a specific direction.
Depending on the microphone and polar pattern, if your audio signal is hitting the microphone off-axis (not within the polar pattern), you will be losing some if not all of your audio signal. Let’s take a look at polar patterns to understand which patterns we would need and use for recording drums.
Unidirectional microphones (cardioid mics)
Unidirectional microphones (cardioid and then to some degree super/hyper-cardioid) are microphones that only pick up the audio signal from one specific direction. Cardioid microphones are great for catching the sound from the front and then blocking everything else out.
These are great for isolation and rejecting unwanted noise, ambient sound, and feedback. They are also great for live performances and then for miking up loud instruments such as drums (which we want) and guitar amplifiers.
Super/hyper-cardioid microphones have a spot at the back of the microphone that can also capture sound. The polar pattern in the front of the microphone is narrower than that of a traditional cardioid microphone.
Due to this design, they have improved isolation and higher resistance to noise and feedback. They are able to record loud audio signals and because of their design and effective noise rejection, you are able to use these in untreated studio rooms and onstage. Just be sure to unwanted sound sources in the dead spots of the microphone or you will get ambient noise bleed.
Omnidirectional microphones
Omnidirectional microphones, as you would have guessed, it captures audio sounds from all angles. These microphones capture a more natural sound and can also pick up nuances that cardioid microphones cannot.
They are amazing for the studio and for venues that have great acoustics. One thing to note is that they pick up sound from all angles; they are prone to noise and feedback, so be sure to know the situation you will need them in.
There are other types of polar patterns that you get for microphones, but these cover the patterns we need to understand what mics we need to mic up a drumkit.
How many mics do you need to record drums?
The simple answer is it depends, and the long answer is it depends. Because drumkits come in all different sizes and variations, you can get countless add-ons in terms of toms, cymbals, and percussion. It also depends on what sound and control you want over that sound coming from your drumkit.
So what we will do now is look at an overview of drum kit sizes and decide what type of sound you want to record, and then we will look at the ways you can go about it with the least number of microphones to the most.
What size drum kit do you have? (how many pieces?)
A standard drumkit is a 5 piece kit, and this includes two toms, a floor tom, a snare, and a bass drum. This does not include cymbals (hi-hats, crashes, etc.). Now there are many ways we can mic up a standard 5 piece kit, and all ways will provide you with a different variation in sound and control over that sound.
One thing to note is that you also get a 4 piece drumkit, which is sometimes used in jazz and blues. However, we will just look at “micing” up a standard 5 piece kit.
Another thing to note is that you may not have all the available microphones or the specific ones you would like to use, and as such, you will have to use what you have on hand. So let’s go over what types of mics you can use from the simplest configuration of 2 all the way up to 18 or even 24, depending on the kit.
The last thing to note is that there is no right or wrong way to mic up a kit. There are preferred ways and tried and tested methods, but depending on your microphones, kit, and space, you will have to see what works best. However, I’ve laid out the methods and microphones that I would use if you are limited to certain circumstances.
Microphone setup
2 Mic setup
1 Overhead 1 ambient/room front mic setup
Depending on what microphones you have available, I would suggest placing one mic, either a ribbon or omnidirectional mic, 4 feet in front of your kit, and then one ribbon or omnidirectional mic 2 feet above your kit as an overhead mic.
This would be your best bet in capturing your drumkit as a whole if you only have two mics on hand. You have to understand, though, that you will lose control and isolation in terms of mixing and editing each piece of your kit individually when using this method.
You do not want to use a 2 overhead mic setup because you will lose sound and definition from the kick drum, so always keep that in mind and place an ambient/room mic in front of your kit to pick up the kick drum.
1 Overhead 1 kick drum setup
If you have one omnidirectional mic, then I would suggest using that as an overhead mic. If you have a cardioid microphone, I would suggest using it as a kick drum mic, placing it inside the drum itself or just on the outside in front of the kick drum.
The overhead mic will give you the overall sound of your kit, while the cardioid microphone for the kick drum will give you the isolation and separation you need for your kick drum to get a better overall mix from your kit.
One thing to note is that if you have a ribbon microphone, you could also use it as a kick drum mic instead of an ambient/room front mic. Be sure to place it outside the kick drum and at an angle so that the velocity of the air from the kick drum won’t damage the ribbon microphone.
Remember that you are going for a good overall sound, so you need to test and decide from these two options, resulting in a better overall drum sound.
3 Mic setup
2 Overheads 1 kick drum setup
If you have two omnidirectional mics and one cardioid, I would suggest using the two omnidirectional mics as overheads. You could place one on the left side of your drum kit and one on the right side. This would give you a little more separation, especially with regards to panning your cymbals and toms. You could then use the cardioid microphone for your kick drum.
Remember that ribbon mics could also be used and overheads if you only have those available.
1 Overhead 1 kick drum 1 snare drum setup
If you have one omnidirectional or ribbon and two cardioid microphones, I would suggest using the omnidirectional or ribbon as overhead and one cardioid for your kick drum and one for your snare.
If you have any experience with “micing” up drums and recording them, you will know that the kick drum and snare are probably the most important to get full isolation and separation to achieve a clear, full, and good overall drum sound.
4 Mic setup
2 Overheads 1 kick drum 1 snare drum setup
As with the 3 mic setup of 2 overheads and 1 kick drum, if you have an additional cardioid microphone, I would suggest using it for your snare drum. Remember to place the microphone regarding your snare and toms at an angle facing down towards your snare or toms and positioned near the outer rim.
1 overhead 1 kick drum 1 snare drum 1 ambient mic setup
Like the last setup, if instead of having 2 omnidirectional mics, you only have 1 and then 3 cardioids, I would suggest using the additional cardioid as an ambient microphone.
That means you would place it on the outskirt of the room you are recording in. This would give the sound of the kit a chance to fill the room, and because the cardioid is only picking up sound from the front, I would position it at an angle facing the kit and have it place in a corner.
1 overhead 1 kick drum 1 snare drum 1 hi-hat mic setup
The only other place I would use a cardioid mic in this type of setup is to mic up the hats. This would give you more separation and control in your mix. I would definitely not use a single cardioid microphone for any other part of your kit because you would need additional mics to get a proper sound.
5 Mic setup
Getting to 5 mics and above, you now have some flexibility and control in recording your drum kit. Obviously, you could do a few setups, but it would depend on how many cardioid microphones you have and how many omnidirectional microphones you have.
Remember, the key factors are that omnidirectional microphones (including ribbon microphones) are great for overheads and ambient situations. Then cardioid microphones are used for isolation and separation. Always mic up your kick and snare first, then with any additional cardioid microphones, you can look at placing them to record the hi-hats and then toms last.
You have to always remember that some situations are slightly different in terms of your kit, the room, your microphones, and your recording setup. Taking everything into account, you will need to adjust microphone placement for some, if not all, your mics to get the sound you like and a sound you can mix.
Larger Kits
More than 5 mics
As we know, a drumkit can be large and can comprise of 6 toms, 2 kick drums, 2 snare drums, percussion instruments, ride cymbals, china cymbals, splash cymbals, crash cymbals, and everything in-between. You can also get variations in size and have more than one cymbal. With the knowledge of this, things can seem to get a bit out of control, and you could end up “micing” up a drumkit with up to 24 microphones if need be.
Just remember that the principles are always the same and use cardioid microphones for specific parts and omnidirectional microphones for a general overall sound.
Watch HomeStudioConnection set up a massive drumkit using 17 microphones.
Microphone placement
In the last section, I went over the microphone setup for an entire kit using basic microphones and general setups (most people will use these kinds of setups). In this section, I’m going to go over some pro tips, and if you can splurge and have multiple microphones for a single part of your kit like your kick and snare drum.
Proximity effect
The proximity effect is the effect some microphones will have especially ribbon microphones. This means that the closer you place your microphone to your sound source, the more the bass frequencies will become prominent. Be sure to consider this when using ribbon microphones and microphones with a high proximity effect.
Micing up a kick drum
There are many ways to mic up a kick drum, and you can use more than one mic to do so. Let’s go over a few options you have available for your kick drum.
1 Mic outside the kick drum or 1 mic inside the kick drum
These two options I went over in the general setup of micing up your kit. If you have a hole in your outer head, you can play around and see what option works best for you. For this setup, you would use cardioid microphones.
Remember that you will get large variations in your sound depending on distance and where you place the microphone in relation to the outer head or inside the drum. For a rule of thumb, placing the mic in the lower half of the kit and about 1inch to 3inches away from the room usually sounds good.
Another option is to use a boundary microphone for the inside of the kick drum instead of a cardioid microphone.
1 Mic inside the kick drum 1 mic outside the kick drum
For this setup, you could use either 1 boundary microphone inside the kick drum and then either one cardioid mic outside or one ribbon mic outside the kick drum. Like that of 2 mics placed inside the kick drum, the mic being placed outside instead of inside will give you variations in your sound quality (especially using a ribbon microphone).
2 Mics inside the kick drum
You could use a boundary microphone and a cardioid microphone placed inside the kick drum for this setup. The boundary microphone will capture the entirety of the kick while the cardioid would capture the skin. This is a nice combination to have if you can afford it.
Micing up a snare drum
1 mic on top of the snare drum.
This is the general setup that you will always use if you only have 1 mic available for your snare drum. It will capture the snare and the body of the drum and will always sound great no matter the situation you are in.
1 mic on top of the snare 1 mic on the bottom of the snare
If you can afford to have 2 cardioid microphones dedicated to your snare drum, then without a doubt placing one at the bottom will give you the detail and clarity of the snare that you might be lacking by just using 1 microphone.
Live performance recording
For live performances, I would suggest using cardioid microphones over omnidirectional microphones. This is because of ambient noise and other instruments, including stage monitors. Bleed and feedback could cause you major problems when mixing your sound, and the fewer mics, the better.
The same principles would apply. This means you would mic up your kick, snare, hats, and toms, and then if you have any additional microphones, you would use them for overheads.
Remember that you are going for a good quality sound, so some testing and replacement of microphones will be inevitable.
Drum kit microphones review
In this section, I’m going to be reviewing some microphones you can use for drum recordings. It’s going to be a little different because what ill be doing is reviewing microphones that are great for drums in terms of the cardioid and then omnidirectional. Still, these microphones will also be great for use in other situational recordings (guitar, vocals, bass, etc.).
Then I will also be reviewing microphones specifically designed for drum recording. Let’s take a look.
Top 10 ribbon, condenser, and dynamic microphones for multiple applications (drums, vocals, guitar, etc)
Here are our top 10 ribbon, condenser, and dynamic microphones for multiple applications, including drums of course.
Shure SM7B Cardioid Dynamic Microphone
This microphone is great for vocals and snare drums. It has a flat, wide-range frequency response for exceptionally clean and natural reproduction of music and drums. It has two switches on the back for bass roll-off, and mid-range emphasis (presence boost) controls with a graphic display of response settings.
It has Improved rejection of electromagnetic hum, optimized for shielding against broadband interference, which is emitted by computer monitors. Additionally, the Internal “air suspension” shock isolation virtually eliminates mechanical noise transmission.
What is great with this mic is it has a highly effective pop filter that eliminates the need for any add-on protection against explosive breath sounds, even for close-up vocals or crack rim shots.
Check out this microphone on Amazon.
AEA KU5A Super-cardioid Ribbon Microphone
Due to the super-cardioid polar response, this microphone effectively reduces ambiance in any environment. It has an end-address for simple placement in front of instruments and vocalists and sports a high pass filter that can be engaged to reduce the proximity effect of close miking. This microphone would be great as an ambient, overhead, or kick drum mic.
Check out this microphone on Amazon.
Audio-Technica AT4040 Cardioid Condenser Microphone
This technically advanced large diaphragm tensioned microphone is designed specifically to provide smooth, natural sonic characteristics with an externally polarized (DC bias) true condenser design, Exceptionally low noise, wide dynamic range, and high SPL capability for greatest versatility in recording anything.
The transformerless circuitry virtually eliminates low-frequency distortion and provides a superior correlation of high-speed transients. The microphone’s look is great and is precision machined nickel-plated brass, and the acoustic element baffle provides enhanced element stability and optimal sensitivity.
Check out this microphone on Amazon.
Shure KSM32/SL Embossed Single-Diaphragm Cardioid Condenser Studio Microphone
The class A, transformerless preamplifier circuitry, eliminates cross-over distortion for improved linearity across the full frequency range. It has a high-compliance diaphragm that provides extended low-frequency response with an ultra-thin, gold-layered, low-mass, Mylar diaphragm for an excellent transient response.
It also has a 15 dB attenuation switch for handling extremely high sound pressure levels (SPL). The switchable low-frequency filter provides greater flexibility to reduce background noise or counteract the proximity effect. Lastly, it sports an Integrated three-stage pop protection grille that reduces “pop” and other noise.
Check out this microphone on Amazon.
Neumann TLM 103 Large-Diaphragm Condenser Microphone
This large-diaphragm cardioid microphone has extremely low noise: 7 dB-A. Supply voltage (P48, IEC 61938): 48 V ± 4 V and is great for any recording application. It is straightforward with its handling and is easy to use for home recording and professional studios. The dynamic range on this bad boy is 131dB. And the set includes the microphone, shock mount, and briefcase.
Check out this microphone on Amazon.
AKG Pro Audio C414 XLS Instrument Condenser Microphone, Multipattern
This microphone is engineered for the highest linearity and neutral sound for a beautifully detailed recording of vocals and any acoustic instrument (drums). It has nine selectable polar patterns for the perfect setting for every application. Also, it sports three attenuation levels (-6/-12/-18dB) for close-up recording or high-output sources of up to 158dB SPL.
It has three different switchable bass-cut filters to reduce wind noise, subsonic noise, or proximity effect. Finally, it has an overload warning with an audio peak hold LED to detect the shortest audio peaks.
Check out this microphone on Amazon.
Warm Audio WA-47 Large-Diaphragm Tube Condenser Microphone
This beautifully looking microphone has 9 switchable polar patterns and is a large-diaphragm condenser microphone. It comes with an external PSU and a beautifully designed wooden presentation box. This microphone supports tubes for its built in preamp, and this will give you a nice natural, warm, full-bodied sound for any recording you do. It is a must-have for any audiophile, home recording studio, or professional recording studio.
Check out this microphone on Amazon.
Mojave Audio MA-301FET Large Diaphragm Multipattern Condenser Microphone
This is a great all-around versatile microphone. It is a multi-pattern: cardioid, omnidirectional figure-eight (Bi-directional) polar pattern with switchable 15dB pad and switchable Bass Roll-off. It has a hand-selected 3-micron 1″ capsule and sports a Jensen audio transformer. This microphone is a workhorse and is great for any application that it needs to suit.
Check out this microphone on Amazon.
Telefunken USA Alchemy Series TF29 Copperhead Tube Microphone
This microphone is designed and assembled by hand in the USA. It has a pleasant and natural mid-range with extended low-frequency response. The look and design is a stand-out antique copper finish, and it this microphone includes an M 902 power supply, an M 803 microphone cable, a ZC03 shell case, an M 703 shock mount, and an M 782 stand mount. This microphone is a great all-round microphone that can be used with any instrument and for vocals.
Check out this microphone on Amazon.
Manley Reference Cardioid Microphone
This microphone is the cream of the crop. It is pretty pricey, but what you get in terms of design and quality is hands down one of the best microphones you can purchase today. It has a custom-wound Manley output transformer for that big MANLEY sound! The microphone is hand-wired with silver solder and audiophile-grade componentry.
It has a rugged, high-quality outboard power supply and is another tube microphone. The vacuum tube is hand-selected for low noise and excellent reliability, and it will produce the most amazing warm, full-bodied, clear tone you can get.
Check out this microphone on Amazon.
Top 9 drum mic kits
These microphones are specifically designed for drums. Whether it be for a live application or recording purposes, these microphones are phenomenal. The review will include 4 piece mic kits up to 8 piece mic kits, so whatever tickles your fancy, these are the drum mics for you.
sE Electronics V Pack Venue Drum Microphone Package (4 piece)
The sE Electronics Drum Mic Package comes with 1 V Kick Dynamic Mic 1 V7 X Super-cardioid Dynamic Mic, 2 V Beat Dynamic Mics and 2 V Clamps. These mics don’t feature overhead mics, but as a 4 piece, they get the job done.
Check out these mics on Amazon.
Shure PGASTUDIOKIT4 Microphone Kit (4 piece)
These microphones provide a wide variety of flexible, professional sound solutions that apply to most recording opportunities with the legendary Shure quality design and construction for exceptional performance in rigorous environments.
This kit comes with 1x PGA52 Cardioid Dynamic Kick Drum Microphone, 1 PGA57 Cardioid Dynamic Instrument Microphone, 2 PGA181 side-address Cardioid Condenser Microphones, 1 A25D Break-resistant Microphone Clip, 2 WA371 Break-resistant Microphone Clips, 4 C15J 15 foot (4.6 m) XLR-XLR cables, 1 95G16526 Zippered Carrying Case.
Check out these mics on Amazon.
Audix DP5A Instrument Dynamic Microphone, Multipattern (5 piece)
This mic kit comes with 5 Premium mics for drums and percussion and includes device gooseneck clips for rim mounting. All mics feature vlm Capsule technology for exceptional top-quality sound and are housed in a heavy-duty aluminum road case. These microphones are designed, machined, assembled, and tested by Audix in the USA.
Check out these mics on Amazon.
Shure PGADRUMKIT5 Drum Microphone Kit (5 piece)
This microphone kit is the essential package of professional quality microphones that offer a wide variety of drum and percussion applications. They offer the legendary Shure quality design and construction for exceptional performance in rigorous environments.
This kit comes with 1 PGA52 Cardioid Dynamic Kick Drum Microphone, 3 PGA56 Cardioid Dynamic Snare/Tom Microphones, 1 PGA57 Cardioid Dynamic Instrument Microphone, 1 A25D Break-resistant Microphone Clip, 3 AP56DM Break-resistant Drum Rim Mounts, 5 C15J 15 foot (4.6 m) XLR-XLR cables, 1 95F16526 Zippered Carrying Case.
Check out these mics on Amazon.
sE Electronics V Pack Club (6 piece)
The sE Electronic pack series you will notice are very similar. You will most likely just have some mics omitted from the various packs. This is great if you don’t have the cash to get the full kit, or if you do have the cash, then you can get the kits with more mics in them. This kit is great but only has mics for one rack tom and one floor tom. This kit includes 1 V Kick Mic, 2 V Beat Tom Mics, 1 V7 X Snare/Vocal Mic, 2 Se7 (stereo pair) Overhead Mics, 2 V Clamps, Flight Case.
Check out these mics on Amazon.
sE Electronics V Pack Arena (7 piece)
This kit is the 7 piece version of the V Pack line. This kit will let you record two rack-mount toms and a floor tom with overhead mics. This kit includes 3 V Beat Tom Mics, 1 V Kick Mic, 2 sE8 Overhead Mics, 1 V7 X Snare/Instrument Mic, 3 V Clamps, and a Flight Case.
Check out these mics on Amazon.
Audix DP7 (7 piece)
This kit is built around the amazing Audix 6 Kick drum microphone, and the other mics go hand in hand are great for any recording application you may have. You get 1 D6 Kick Drum Mic, 1 i5 Snare Drum Mic, 2 D2 Rack Tom Mics, 1 D4 Floor Tom Mic, 2 ADX51 Overhead Mics, 4 DVICE Rim Mounts, 3 DCLIP Microphone Clips, 1 MC1 Microphone Clip, 2 WS81C Windscreens, an aluminum road case, and finally, a “How to Mic Your Drums” DVD.
Check out these mics on Amazon.
Shure PGADRUMKIT7 Drum Microphone Kit (7 piece)
This microphone kit is the essential package of professional quality microphones that offer a wide variety of drum and percussion applications. They offer the legendary Shure quality design and construction for exceptional performance in rigorous environments.
This kit comes with 1 PGA52 Cardioid Dynamic Kick Drum Microphone, 3 PGA56 Cardioid Dynamic Snare/Tom Microphones, 1 PGA57 Cardioid Dynamic Instrument Microphone, 2 PGA81 Cardioid Condenser Instrument Microphones, 1 A25D Break-resistant Microphone Clip, 3 AP56DM Break-resistant Drum Rim Mounts, 7 C15J 15 foot (4.6 m) XLR-XLR cables, 1 95F16526 Zippered Carrying Case.
Check out these mics on Amazon.
Audix Studio Elite 8 (8 piece)
These microphones are from Audix and are from their upper range microphones and kits. This kit also includes the D6 Kick drum mic, and the other mics are built around this microphone. The kit includes 1 D6 Kick Drum Mic, 1 i5 Snare Drum Mic, 2 x D2 Rack Tom Mics, 1 D4 Floor Tom Mic, 1 SCX1HC Hi-Hat Mic, 2 SCX25A Instrument Mics, 4 DVICE Rim Mounts, 4 DCLIP Microphone Clips, 1 MC1 Microphone Clip, 1 MW81C Windscreen, 2 SMT25 Shockmounts for SCX25A, and an aluminum road case.
Check out these mics on Amazon.
Conclusion
In conclusion, we can see that depending on the size of your kit and depending on how many microphones you have and what types of microphones they are, you can record your drum kit in a variety of ways.
If you are just micing up your kit and do not need to use your microphones to record anything else like vocals or guitar, it would be advisable to purchase drum mics specifically designed for recording drums.
However, if you are using or are only able to purchase a couple of microphones, it would be advisable to get microphones that could suit all your needs and not just that of the drums. In this case, purchasing separate omnidirectional microphones and cardioid microphones that are versatile would be your best bet.
Remember to consider your situation and figure out what microphones would be best suited for your setup. Then go through the placement and setup of the microphones for your drumkit, as discussed in this article. In the end, you will be able to record a great drum sound.
