{"id":28053,"date":"2021-05-12T09:18:56","date_gmt":"2021-05-12T16:18:56","guid":{"rendered":"https:\/\/www.drumeo.com\/beat\/?p=28053"},"modified":"2023-05-29T13:52:27","modified_gmt":"2023-05-29T20:52:27","slug":"the-ultimate-guide-to-buying-drum-mics","status":"publish","type":"post","link":"https:\/\/www.drumeo.com\/beat\/the-ultimate-guide-to-buying-drum-mics\/","title":{"rendered":"The Ultimate Guide To Buying Drum Mics"},"content":{"rendered":"\n<p>If you need new drum mics or don&#8217;t know what to buy, you&#8217;ve come to the right place!<\/p>\n\n\n\n<p>There are so many mics on the market. In this article, you\u2019ll find recommendations to help you sort through and narrow down your options. You\u2019ll also find enough information to make educated decisions based on the sonic and build quality of each product, plus usage tips and upgrade paths\/alternatives.<\/p>\n\n\n\n<p>You\u2019ll find that the mics in this guide range from budget to boutique, but I want to make one thing very clear:<\/p>\n\n\n\n<p><em>You don\u2019t need extraordinary mics to achieve an extraordinary recording.<\/em><\/p>\n\n\n\n<p>80% of a good drum sound comes from the drum kit tuning, the drummer&#8217;s technique, and the room the drums are being played in. For a while now, even the most budget microphones, preamps and converters can offer musicians the opportunity to record themselves in high quality.<\/p>\n\n\n\n<p>All prices in this guide are in USD.<\/p>\n\n\n\n<p><span class=\"blue-text-block\">(Beginners: If you see any words you don\u2019t recognize, refer to the glossary at the end of this article and <a href=\"https:\/\/www.drumeo.com\/beat\/the-beginners-guide-to-recording-drums\/\" target=\"_blank\" rel=\"noreferrer noopener\">check out this guide to recording drums<\/a>)<\/span><\/p>\n\n\n<p><style>\n#toc_container {<br \/>\n   background: #f9f9f9 none repeat scroll 0 0;<br \/>\n   border: 1px solid #aaa;<br \/>\n   display: table;<br \/>\n   font-size: 95%;<br \/>\n   margin-bottom: 1em;<br \/>\n   padding: 20px;<br \/>\n   width: auto;<br \/>\n}<br \/>\n.toc_title {<br \/>\n   font-weight: 700;<br \/>\n   text-align: center;<br \/>\n}<br \/>\n#toc_container li, #toc_container ul, #toc_container ul li{<br \/>\n   list-style: outside none none !important;<br \/>\n}<br \/>\n<\/style>\n<\/p>\n<div id=\"toc_container\">\n<p class=\"toc_title\">\n<\/p><h3><strong>Chapters<\/strong><\/h3>\n<ul class=\"toc_list\">\n<li><a href=\"#Mic_types\">What type of mic should I get?<\/a><\/li>\n<li><a href=\"#Bundles\">Drum mic bundles<\/a><\/li>\n<li><a href=\"#Kick_mics\">Kick mics<\/a><\/li>\n<li><a href=\"#Snare_mics\">Snare mics<\/a><\/li>\n<li><a href=\"#Tom_mics\">Tom mics<\/a><\/li>\n<li><a href=\"#Overhead_mics\">Overhead mics<\/a><\/li>\n<li><a href=\"#Spot_mics\">Spot mics<\/a><\/li>\n<li><a href=\"#Room_mics\">Room mics<\/a><\/li>\n<li><a href=\"#Table\">Mic comparison table<\/a><\/li>\n<li><a href=\"#Glossary\">Glossary<\/a><\/li>\n<\/ul>\n<\/div>\n<hr>\n<h2 id=\"Mic_types\" style=\"color: #0b76db;\"><strong>What type of mic should I get?<\/strong><\/h2>\n\n\n<h4 class=\"wp-block-heading\"><strong>Condenser, dynamic, or ribbon?<\/strong><\/h4>\n\n\n\n<p>While there are a few mics you wouldn\u2019t use for <em>everything <\/em>on the drum kit, being able to mix and match will give you complete coverage and help you capture sounds creatively.<\/p>\n\n\n\n<p>Here are some points to consider for each type of microphone:<br><br><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td><\/td><td><strong>Dynamic<\/strong><\/td><td><strong>Condenser<\/strong><\/td><td><strong>Ribbon<\/strong><\/td><\/tr><tr><td><strong>Distortion<\/strong><\/td><td>Can withstand loud sound sources with little distortion<\/td><td>More susceptible to distortion from loud sources<\/td><td>Very susceptible to distortion from loud sources<\/td><\/tr><tr><td><strong>Sensitivity<\/strong><\/td><td>Less detail when capturing intricate parts<\/td><td>Can respond really well to intricate, delicate parts such as embellishments on cymbals<\/td><td>Less detail, and because of the directional pattern they have a very \u201croomy\u201d sound in comparison<\/td><\/tr><tr><td><strong>Response<\/strong><\/td><td>Slow response &#8211; can &#8220;compress&#8221; the attack of the drum<\/td><td>Faster response &#8211; will have a more accurate depiction of the drum\u2019s attack<\/td><td>Somewhere in the middle of the other two, smoothing out some of the attack<\/td><\/tr><tr><td><strong>Frequency<\/strong><\/td><td>Less neutral frequency spectrum response<\/td><td>Neutral (flat) frequency response across the spectrum<\/td><td>They tend to roll off the high end, giving them a very soft and warm sound<\/td><\/tr><tr><td><strong>Durability<\/strong><\/td><td>Can take a beating<\/td><td>Many condenser microphones are going to be <em>really <\/em>upset if you hit them with a stick<\/td><td>I\u2019ve seen an old school ribbon mic get damaged by closing a door too hard<\/td><\/tr><tr><td><strong>Power<\/strong><\/td><td>Almost never require Phantom Power<\/td><td>Almost always require Phantom Power<\/td><td>Just in case, avoid providing Phantom Power unless specified by the manufacturer<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p>Don\u2019t worry too much about phantom power &#8211; most modern <a href=\"https:\/\/imp.i114863.net\/0J9Gx3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">mixers<\/a>, <a href=\"https:\/\/imp.i114863.net\/YgD3yP\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">interfaces<\/a>, and <a href=\"https:\/\/imp.i114863.net\/b3OkDB\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">preamps<\/a> can provide it. But always check the user manual!<br><br>If you looked at the above table and thought, \u201cI want the highest quality possible, so I should just buy <a href=\"https:\/\/imp.i114863.net\/rnaEzG\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">condenser mics<\/a>,\u201d keep reading. There are reasons why some microphones are more suited to some tasks than others.<\/p>\n\n\n\n<p><a href=\"https:\/\/imp.i114863.net\/e41nrg\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Dynamic<\/a> and <a href=\"https:\/\/imp.i114863.net\/BXn5z9\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">ribbon mics<\/a> can have a very specific sound coloration: they\u2019re usually not optimal in terms of frequency response, and they don\u2019t have the fastest transient response. But these characteristics have been present in many of our favorite songs and recordings over the past century, and listeners have come to expect that sound when listening to music.<\/p>\n\n\n\n<p>There\u2019s far more to know about the differences between these microphones, but if you\u2019re somewhat new to the recording world, I\u2019ll leave it here for now.<\/p>\n\n\n\n<p>But there\u2019s one more thing you should consider when choosing drum mics: Max SPL.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><br><strong>Maximum SPL<\/strong><\/h4>\n\n\n\n<p>Drums are loud. It means we don\u2019t have to worry about choosing high sensitivity microphones. But it does mean we have to bear in mind at what point the mic starts distorting.<\/p>\n\n\n\n<p>Thankfully, engineers have access to SPL (Sound Pressure Level) meters, which give you a reading in dB SPL. You can buy these <a href=\"https:\/\/imp.i114863.net\/3PJk9v\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">meters<\/a> online and most music shops, but you can save some money by getting either the NIOSH app or the <a href=\"https:\/\/apps.apple.com\/us\/app\/decibel-x-db-sound-level-meter\/id448155923\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Decibel X<\/a> app on iOS and Android. If you don\u2019t have one, as a drummer, I recommend getting one to find out how loud your drumming <em>really <\/em>is.<br><br>If your drums are hovering around 110dB SPL, picking a microphone with a maximum SPL lower than that will lead to immediate distortion and clipping &#8211; even if you\u2019re placing that mic far away from the drums (room mics or overheads, for example). Similarly, if you pick a microphone that has a maximum SPL of 120dB SPL and place it near your kick or snare, the microphone will likely not have enough headroom and distort immediately. This is because sound decays 6dB each time you double the distance from the sound source.&nbsp;<\/p>\n\n\n\n<p>Mics designed for drum kits have a maximum SPL above 120dB and often sit in the 140-155dB SPL zone. If your sound is distorting at the source, it\u2019s worth checking if your microphone can accommodate high SPL levels, and replacing it with one that has a higher max SPL specification.<\/p>\n\n\n<h2 id=\"Bundles\" style=\"color: #0b76db;\"><strong>Drum mic bundles<\/strong><\/h2>\n\n\n<p>Many brands offer bundles that include everything you need to mic up your drum kit in a portable case. Some brands &#8211; like <a href=\"https:\/\/imp.i114863.net\/NK9GQO\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser<\/a> and <a href=\"https:\/\/imp.i114863.net\/yRqZeD\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure<\/a> &#8211; offer both a budget bundle and a better-quality bundle that include the mics loved and used by engineers around the globe.<\/p>\n\n\n\n<p>Consider these two things when buying a mic pack:<\/p>\n\n\n\n<ul>\n<li><strong>How many pieces is your drum kit?<\/strong> Most bundles are designed for \u201cclassic\u201d <a href=\"https:\/\/imp.i114863.net\/0J9dPL\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">5 piece kits<\/a> (kick\/snare\/two rack toms\/floor tom), but some are designed for <a href=\"https:\/\/imp.i114863.net\/EaEZyn\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">4 piece kits<\/a>. If you have more toms, snares, or kick drums in your setup you\u2019ll need to add the extra mics yourself.<\/li>\n\n\n\n<li><strong>Most of these bundles <em>do not include overheads.<\/em><\/strong> This isn\u2019t a problem as long as you budget to buy an overhead microphone pair of your choosing. Some bundles are also available in two versions (one with overheads, one without).<\/li>\n<\/ul>\n\n\n\n<p>In addition to the bundles themselves, you\u2019ll also need <a href=\"https:\/\/imp.i114863.net\/LPa3ZM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">mic stands<\/a> and <a href=\"https:\/\/imp.i114863.net\/7maXG3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">XLR cables<\/a> (I\u2019m assuming you already have a mixing console or an interface with enough microphone inputs for the drum kit).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Budget bundles<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/3PJkmy\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure PG Studio Kit 4<\/a> &#8211; $299<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"741\" height=\"413\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11214851\/Shure-PG-Studio-Kit-4.jpg\" alt=\"\" class=\"wp-image-28377\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11214851\/Shure-PG-Studio-Kit-4.jpg 741w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11214851\/Shure-PG-Studio-Kit-4-300x167.jpg 300w\" sizes=\"(max-width: 741px) 100vw, 741px\" \/><\/figure><\/div>\n\n\n<p>Not only have I used these microphones plenty of times in rehearsal rooms and live sound situations, but these were also the ones handed out to students during their first assignments at a popular audio engineering university I worked at &#8211; and I\u2019ve heard many incredible recordings done with these mics.<br><br>They can take a beating and come with cables, but unfortunately, they only cover a 4 piece drum kit and do not come with overheads. I highly recommend budgeting for an extra <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a> microphone and a pair of overheads if you decide to purchase this pack.<\/p>\n\n\n\n<p>If you have a 5 piece drum kit, check out the <strong><a href=\"https:\/\/imp.i114863.net\/O6kqz\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure PG Studio Kit 7<\/a><\/strong>, a $500 offering that comes with an extra tom mic and a pair of overheads.<\/p>\n\n\n\n<p>If you own this kit and want to upgrade, or have the budget for something nicer, any of the middle of the road bundles would be a good option.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/7maX1V\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix FP5<\/a> &#8211; $349<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11215119\/Audix-FP5-Bundle-902x1024.png\" alt=\"\" class=\"wp-image-28379\" width=\"451\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11215119\/Audix-FP5-Bundle-902x1024.png 902w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11215119\/Audix-FP5-Bundle-264x300.png 264w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11215119\/Audix-FP5-Bundle-768x872.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11215119\/Audix-FP5-Bundle.png 1350w\" sizes=\"(max-width: 451px) 100vw, 451px\" \/><\/figure><\/div>\n\n\n<p>This was the first drum mic kit I bought when I first opened a project studio. I\u2019ve also taken these with me on small tours. They\u2019re not quite as nice sound-wise as the <a href=\"https:\/\/imp.i114863.net\/DVyWRG\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix DP series<\/a>, but in my opinion, they offer a small upgrade to the PG Studio set in terms of sound.<br><br>They can also stand a beating and this pack is designed for a 5 piece kit. But, just like the <a href=\"https:\/\/imp.i114863.net\/3PJkmy\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure PG Studio Kit 4<\/a>, it doesn\u2019t come with overheads &#8211; so make sure you budget for a pair!<\/p>\n\n\n\n<p>The <strong><a href=\"https:\/\/imp.i114863.net\/E5LBe\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix FP7<\/a><\/strong> is a $499 offering of the same bundle that includes overhead microphones. But if you can, budget for a pair of solid overheads and get the <a href=\"https:\/\/imp.i114863.net\/7maX1V\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">FP5<\/a> instead, as the overheads in the FP7 kit will likely be the first thing you\u2019ll try to upgrade, followed by the snare and kick mic. The overheads included in the FP7 can be especially finicky with brighter cymbals in harsh-sounding rooms.<\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n\n\n<h3 class=\"wp-block-heading\"><strong>Mid-tier bundles<\/strong><\/h3>\n\n\n\n<p>These bundles include microphones that have become drum recording classics in their own right.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/vo5MO\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure DMK57-52 <\/a>&#8211; $399<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220218\/Shure-DMK57-52.jpg\" alt=\"\" class=\"wp-image-28381\" width=\"558\" height=\"465\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220218\/Shure-DMK57-52.jpg 744w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220218\/Shure-DMK57-52-300x250.jpg 300w\" sizes=\"(max-width: 558px) 100vw, 558px\" \/><\/figure><\/div>\n\n\n<p>This Shure offering is a huge step up from the PG Studio Kit. It includes the classic <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Beta 52<\/a>, which is an absolute beast of a kick drum microphone. It also includes 3 Shure <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SM57s<\/a>, which is the absolute workhouse dynamic microphone for the studio or live. They\u2019re perfect for snares, will do a great job on toms, and if you ever decide to upgrade they can be used for <a href=\"https:\/\/imp.i114863.net\/x9LJOx\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">cajons<\/a>, <a href=\"https:\/\/imp.i114863.net\/ORB3oK\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">side snares<\/a>, <a href=\"https:\/\/imp.i114863.net\/a1RAyb\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">hi-hats<\/a>, <a href=\"https:\/\/imp.i114863.net\/P0OzAj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">timbales<\/a>, and other louder percussion items (not to mention guitar amps, harmoniums, and even vocals).<br><br>You get 4 roadworthy microphones, 2 of the most popular microphones in their class for kick and snare, and a plethora of <a href=\"https:\/\/amzn.to\/3eHtYoT\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">microphone clamps<\/a> (which save you from needing microphone stands).<\/p>\n\n\n\n<p>Unfortunately, you\u2019ll have to budget for 2 overhead mics and an extra SM57 if you have a 5 piece kit. But all in all, you get a lot of value in this kit and can\u2019t go wrong with these classics.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/JrKkj2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix DP5<\/a> &#8211; $699<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220310\/Audix-DP5.jpg\" alt=\"\" class=\"wp-image-28383\" width=\"557\" height=\"363\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220310\/Audix-DP5.jpg 742w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220310\/Audix-DP5-300x196.jpg 300w\" sizes=\"(max-width: 557px) 100vw, 557px\" \/><\/figure><\/div>\n\n\n<p>This kit includes the fantastic <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6 <\/a>kick drum mic, as well as the <a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix i5<\/a> snare mic. It also includes a dedicated floor tom mic that has a bit more extended low-end frequency response. The kit is worth it for the D6 and i5 alone if you\u2019re after a modern rock\/metal drum sound, and includes enough microphones to cover a 5 piece kit.<br><br>Unfortunately, it doesn\u2019t include overheads. But Audix offers the <strong><a href=\"https:\/\/imp.i114863.net\/oe4NGo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix DP7<\/a><\/strong> ($999) that does. While the overheads offered in the DP7 pack are good, you might still look for an upgrade at some point down the line.<\/p>\n\n\n\n<p>Fear not: the <strong><a href=\"https:\/\/imp.i114863.net\/zaxz00\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">ADX51<\/a><\/strong> (included in the DP7 bundle, or $249 on its own) can still be used as a spot mic (for instance, your hi-hat and ride) if you do decide to upgrade your overheads. If you like the sound of this bundle but would like something better, I\u2019d recommend looking for the<strong> <\/strong><a href=\"https:\/\/imp.i114863.net\/b3Okqg\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix Elite bundle<\/a> (see next section), or sticking with the <a href=\"https:\/\/imp.i114863.net\/JrKkj2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DP5 bundle<\/a> and choose your own overhead microphone pair.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/doOyDW\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser e600 Drum Mic Set<\/a> &#8211; $999<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"746\" height=\"371\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220504\/Sennheiser-e600-1.jpg\" alt=\"\" class=\"wp-image-28385\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220504\/Sennheiser-e600-1.jpg 746w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220504\/Sennheiser-e600-1-300x149.jpg 300w\" sizes=\"(max-width: 746px) 100vw, 746px\" \/><\/figure><\/div>\n\n\n<p>Another offering that brings some of the most popular mics to your drum shells. If you look at old Drumeo videos, you\u2019ll find the <a href=\"https:\/\/imp.i114863.net\/yRqZON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e602<\/a> used on the kick and the <a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e604<\/a> used on the toms extensively.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Benny Greb: The Art &amp; Science Of Groove - Drum Lesson (Drumeo)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/OP3o84bMduE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>These mics are so widely used that you\u2019ll hear more about them later in this guide. They\u2019re rugged, can withstand a beating and the abuse of the road, and come with clips so you don\u2019t need to purchase stands.<br><\/p>\n\n\n\n<p>This pack comes with a pair of decent condensers for overhead duties, but not enough mics for a 5 piece kit. I strongly recommend budgeting for a Shure <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SM57<\/a> as your snare top microphone if you decide to get this bundle.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>High-end bundles<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/9WLV94\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix Elite Studio 8<\/a> &#8211; $2699<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220555\/Audix-Elite-Studio-8.jpg\" alt=\"\" class=\"wp-image-28387\" width=\"443\" height=\"551\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220555\/Audix-Elite-Studio-8.jpg 591w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220555\/Audix-Elite-Studio-8-242x300.jpg 242w\" sizes=\"(max-width: 443px) 100vw, 443px\" \/><\/figure><\/div>\n\n\n<p>The <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> and <a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix i5<\/a> are stellar products and established kick and snare mics. The <a href=\"https:\/\/imp.i114863.net\/b3OkvM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">D2<\/a> and <a href=\"https:\/\/imp.i114863.net\/2raRXA\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">D<\/a><a href=\"https:\/\/imp.i114863.net\/2raRXA\" target=\"_blank\" rel=\"noreferrer noopener\">4<\/a> are designed with toms in mind. But what makes this kit \u201celite\u201d is the introduction of two <a href=\"https:\/\/imp.i114863.net\/doOy32\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SCX25-As<\/a> for overheads, and an <a href=\"https:\/\/imp.i114863.net\/MXAKjn\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SCX1<\/a> (marketed as a hi-hat microphone, but also good as a ride, percussion, or general cymbal spot mic).<br><br>I like the <a href=\"https:\/\/imp.i114863.net\/mgO4bO\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SCX25<\/a> so much I\u2019d recommend it for a variety of other things, including as a piano mic (as advertised by <a href=\"https:\/\/imp.i114863.net\/DVyWJb\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix<\/a>).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Todd Sucherman- Rock Drumming Masterclass Lesson Trailer\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/gL-37U7ZJ3w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>With this bundle, you\u2019ll be set for live micing and most commercial recording needs. Just don\u2019t forget to add a few stands and cables to your shopping basket.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/DVyWJa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks DK7<\/a> &#8211; $2999<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220655\/Earthworks-DK7.jpg\" alt=\"\" class=\"wp-image-28389\" width=\"555\" height=\"468\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220655\/Earthworks-DK7.jpg 740w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11220655\/Earthworks-DK7-300x253.jpg 300w\" sizes=\"(max-width: 555px) 100vw, 555px\" \/><\/figure><\/div>\n\n\n<p>You won\u2019t get a more clear and accurate \u201chigh fidelity\u201d set of microphones around your kit that&#8217;s this free of distortion from high SPL sound sources. These mics also have an amazing rejection of sounds from other sources, minimizing spill.<br><br>They\u2019re small, sleek, and have a beautiful finish that look great in videos.&nbsp;<\/p>\n\n\n\n<p>This is the perfect starting point to get clean, high definition drum recordings. You can always add mics that bring character and color to your collection if and when you need it.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Tommy Igoe (WIM Trio) Performance - Drumeo Festival 2020\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/P_ceMX6S6_Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<p>Do you have an unusual setup, want to tailor your sound capture, want to update your budget mics or extend your current mic collection? Then let\u2019s expand beyond bundles and look at some great individual options.<br><br>The next section will cover some of the most popular mics for each part of the drum kit, their sonic characteristics, tips for use, and how you can upgrade from there.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><\/h2>\n\n\n<h2 id=\"Kick_mics\" style=\"color: #0b76db;\"><strong>Kick drum mics<\/strong><\/h2>\n\n\n<p>Given the importance of the bass drum in modern music, it\u2019s no surprise you\u2019ll see quite a few mics in this section. While quite a few models are capable of taking on both responsibilities of an internal kick microphone (will call it Kick In from now on) as well as a resonant head kick microphone (which I\u2019ll name Kick Out), some are specifically designed for one or the other.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1005\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1-1024x1005.jpg\" alt=\"\" class=\"wp-image-28299\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1-1024x1005.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1-300x294.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1-768x753.jpg 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1-1536x1507.jpg 1536w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/10174418\/kick-in-kick-out-1.jpg 2000w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>You\u2019ll notice most of these microphones are fairly large, but nearly all of them are still dynamic microphones (specifically, large diaphragm dynamic microphones). There are many factors behind the frequency response of dynamic mics, but you should know that in general, large diaphragm models move the resonant frequency lower, which allows the manufacturer to more easily tune the microphone to have increased low end response.<\/p>\n\n\n\n<figure class=\"wp-block-table is-style-regular\"><table><tbody><tr><th colspan=3><strong>Recommended Kick Drum Microphones<\/strong><\/th><\/tr><tr><td><strong>Brand\/Model<\/strong><\/td><td><strong>Use<\/strong><\/td><td><strong>Price<\/strong><\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a><\/td><td>Kick Out, Kick In<\/td><td>$199<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a><\/td><td>Kick Out, Kick In<\/td><td>$200<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/yRqZON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser e602<\/a><\/td><td>Kick Out, Kick In<\/td><td>$149<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/NK9GYb\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta 91A<\/a><\/td><td>Kick In<\/td><td>$239<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/MXAKY2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Electrovoice RE20<\/a><\/td><td>Kick Out<\/td><td>$449<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/QOjYxx\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a><\/td><td>Kick Out<\/td><td>$4000<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/jWeRj6\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Yamaha SubKick<\/a><\/td><td>Kick Sub<\/td><td>Used only<\/td><\/tr><tr><td><a href=\"https:\/\/amzn.to\/3eF9OvD\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Solomon LoFReQ Sub Mic<\/a><\/td><td>Kick Sub<\/td><td>$199<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Great all-around kick mics<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a> &#8211; $199<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184134\/akgd112.jpg\" alt=\"\" class=\"wp-image-28318\" width=\"359\" height=\"398\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184134\/akgd112.jpg 717w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184134\/akgd112-271x300.jpg 271w\" sizes=\"(max-width: 359px) 100vw, 359px\" \/><\/figure><\/div>\n\n\n<p>I describe this mic as a very \u201cloose\u201d one. It has a nice, extended low end response. But it\u2019s very different from all the other mics in this section.<br><br>For some reason, if you do a direct comparison between all these mics, this one will feel the softest, looser on the low end (favoring that decay) and will not be very fast at responding to transients &#8211; making it a better choice for genres where you want a softer feel on the kick.<\/p>\n\n\n\n<p>Drumeo also uses this mic extensively as a Kick In microphone. As their Production Director, Taylor describes it:<\/p>\n\n\n\n<p>\u201cWe use the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">D112<\/a> because it captures the &#8220;knock&#8221; or the high end of the kick drum so well. We use it inside the kick drum and point it right where the beater meets the head. And because it has a bump at 5k in its frequency response, it just naturally captures the sound we want without having to mess with an EQ too much.\u201d<br><\/p>\n\n\n\n<p>If you\u2019re looking for an alternative kick mic that\u2019ll give you a similar soft, low-end resonance, try the <strong><a href=\"https:\/\/imp.i114863.net\/LPK0YL\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Electrovoice RE20<\/a><\/strong>, or for Kick Out applications: a large diaphragm condenser like the <strong><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47 FET<\/a><\/strong>, <strong><a href=\"https:\/\/imp.i114863.net\/DVyWMo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann TLM 170<\/a><\/strong> or similar &#8211; just make sure you build a little isolation tunnel around your kick drum and Kick Out microphone.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> &#8211; $200<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184744\/AudixD6-922x1024.png\" alt=\"\" class=\"wp-image-28320\" width=\"461\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184744\/AudixD6-922x1024.png 922w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184744\/AudixD6-270x300.png 270w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184744\/AudixD6-768x853.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11184744\/AudixD6.png 1350w\" sizes=\"(max-width: 461px) 100vw, 461px\" \/><\/figure><\/div>\n\n\n<p>A good friend of mine turned me onto this microphone when I was on the road with a metal band. He told me that it was just incredible for loud, in-your-face kind of kicks, and it sounded like the kick had been EQ\u2019d and compressed for you.<br><br>That mic was the <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a>, and it didn\u2019t disappoint! For more budget shows where I had limited or no access to the outboard gear (back in the analog days where renting a rack full of processors wasn&#8217;t cheap) this mic saved my life over and over.&nbsp;<\/p>\n\n\n\n<p>It works great as a Kick Out or Kick In mic. The attack is clear and punchier than the <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta52A<\/a> with plenty of low-end energy to drive the kick through a busy mix or a PA system. It also pairs great with the Beta52A (for Kick Out) when used as a Kick In microphone.<br><br>Like the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a>, if you\u2019re looking to \u2018upgrade\u2019, you have a choice of looser\/softer low-end mics like the <a href=\"https:\/\/imp.i114863.net\/MXAKY2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Electrovoice RE20<\/a> and AKG D112, as well as a more well-rounded Shure Beta52A.<\/p>\n\n\n\n<p>The <a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a> or <a href=\"https:\/\/imp.i114863.net\/DVyWMo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">TLM170<\/a> would be the ticket for Kick Out microphones, and the Shure Beta91A (a microphone designed for Kick In duties) if you feel you need a better transient response.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta52A<\/a> &#8211; $189<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185006\/Shure-Beta52A.jpg\" alt=\"\" class=\"wp-image-28321\" width=\"338\" height=\"441\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185006\/Shure-Beta52A.jpg 450w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185006\/Shure-Beta52A-230x300.jpg 230w\" sizes=\"(max-width: 338px) 100vw, 338px\" \/><\/figure><\/div>\n\n\n<p>I first used this microphone in 2005. I was on the road with a hard rock band and we had been using the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a> on the kick when we came across a rental company that had this beast in their microphone case. I was blown away. I now trust this mic for Kick Out duties for any modern band that requires a precise hit with plenty of low-end response.<\/p>\n\n\n\n<p>It\u2019s the microphone I have on my bass drum 24\/7, and it pairs brilliantly with an <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> or a Shure Beta92 as a Kick In.<\/p>\n\n\n\n<p>I\u2019d only upgrade from this microphone if I was after a different sound (like the<strong> Audix D6<\/strong> and the <strong>AKG D112<\/strong>), or if I\u2019m in a situation where I can make use of large diaphragm condensers such as the <strong><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47 FET<\/a><\/strong> (getting into boutique territory here). Even in these cases, I tend to leave the Shure Beta52A near the porthole if there is one.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/yRqZON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser e602<\/a> &#8211; $149<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602-1024x1024.jpg\" alt=\"\" class=\"wp-image-28322\" width=\"512\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602-1024x1024.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602-300x300.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602-150x150.jpg 150w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602-768x768.jpg 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185120\/Sennheiser-e602.jpg 1312w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/><\/figure><\/div>\n\n\n<p>A standard Kick Out option, you\u2019ll find it by the resonant head hole of many kick drums, and you can hear it in action in many of Drumeo\u2019s older videos.<\/p>\n\n\n\n<p>This mic is slightly softer and looser than the <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Beta52A<\/a>, but more precise than the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a>. It\u2019s also quite scooped in the mids, which might help you minimize the amount of EQ needed with a really resonant kick drum.<\/p>\n\n\n\n<p>Mixing the D112 with the <a href=\"https:\/\/imp.i114863.net\/yRqZON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e602<\/a> (which captures the overall vibe and feel of the kick drum) just seems to work so well. Add a LoFReQ sub kick mic in the mix and you have everything you could need for almost every situation.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Kick In mics<\/strong><\/h3>\n\n\n\n<p>Sometimes you just need the smack of the beater hitting the batter head. That click is going to be driving the track or preventing the attack of your kick drum from getting buried when other elements of the production kick in (or the drummer does really fast double bass passages).<\/p>\n\n\n\n<p>These microphones are usually placed really close to the batter head (the <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> is a great example) or on a mount like the <a href=\"https:\/\/imp.i114863.net\/RyG0Na\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Kelly SHU <\/a>or the <a href=\"https:\/\/www.sledgepad.com\/store\/sledgepad-mic-tray\/387e96f6-4b32-4993-b3e8-c1ee10cbf60d?category=shop\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sledgepad Mic Tray<\/a>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/NK9GYb\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta91A<\/a> &#8211; $239<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185241\/Shure-Beta91A.jpg\" alt=\"\" class=\"wp-image-28323\" width=\"404\" height=\"600\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185241\/Shure-Beta91A.jpg 539w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11185241\/Shure-Beta91A-202x300.jpg 202w\" sizes=\"(max-width: 404px) 100vw, 404px\" \/><\/figure><\/div>\n\n\n<p>I love this mic. You get a very detailed transient from the batter head, but also a nice representation of the kick drum shell resonance, as well as a nice amount of low end. I recommend using a very small amount of dampening (like a small hand towel, a <a href=\"https:\/\/www.sledgepad.com\/store\/sledgepad-mic-tray\/387e96f6-4b32-4993-b3e8-c1ee10cbf60d?category=shop\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sledgepad Mic Tray<\/a>, or a <a href=\"https:\/\/imp.i114863.net\/RyG0Na\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Kelly SHU<\/a>) and place this mic on top.<\/p>\n\n\n\n<p>I honestly don\u2019t think there are many microphones on the market as suited for the task as this one. While a <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a> and an <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> will do the job, this little condenser microphone can withstand 155dB SPL to get the extra little bit of detail that large diaphragm dynamic mics might not allow us to capture.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Kick Out mics<\/strong><\/h3>\n\n\n\n<p>All microphones specified as great all-around mics will do great here: the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a>, the <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta52<\/a>, or the Audix D6. However, there are a few mics that can really bring something special to the table as a Kick Out:<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47 FET <\/a>&#8211; $4000<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png\" alt=\"\" class=\"wp-image-28324\" width=\"548\" height=\"548\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png 730w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-150x150.png 150w\" sizes=\"(max-width: 548px) 100vw, 548px\" \/><\/figure><\/div>\n\n\n<p>Expensive. Legendary.<br><\/p>\n\n\n\n<p>But it\u2019s a gorgeous microphone for a Kick Out. Just be mindful of the low-ish Max SPL (you\u2019ll likely need to use the pad on your preamps or add an inline attenuator) and you might have to make a kick drum tunnel in order to reduce spill from other parts of the kit.<\/p>\n\n\n\n<p>Large diaphragm condenser mics bring up the details of the room in the signal they capture, and the nice saturation this mic imparts on louder signals makes it for a round, detailed, and rich low-end tail. It\u2019s also slightly darker than most other condenser microphones, so it doesn\u2019t do anything too crazy to the spill that you\u2019ll inevitably capture.<\/p>\n\n\n\n<p>Alternatively, the<strong> <\/strong><a href=\"https:\/\/imp.i114863.net\/DVyWMo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">TLM170<\/a> is a brilliant mic to use for similar reasons, although a bit more \u2018aggressive\u2019. You absolutely don\u2019t <em>need <\/em>this microphone on your recordings, but if you can afford or use one, give it a go &#8211; you won\u2019t be disappointed.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/MXAKY2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">ElectroVoice RE20<\/a> &#8211; $449<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190244\/ElectroVoice-RE20-1-251x1024.png\" alt=\"\" class=\"wp-image-28326\" width=\"126\" height=\"512\" title=\"\"><\/figure><\/div>\n\n\n<p>This isn\u2019t a bad microphone to have around the studio. It\u2019s great on vocals, bass cabinets, some guitar cabinets, floor toms, and Kick Outs &#8211; especially in genres where people play the kick softly.<\/p>\n\n\n\n<p>It also holds its own for more aggressive genres, but I don\u2019t find it as focused or as snappy as the <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> or <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Beta52<\/a>. If you\u2019re on a budget and require microphones that work well with other instruments, this is one such mic.<\/p>\n\n\n\n<p>It\u2019s a good upgrade for the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a>, especially if using something like a <a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a> is not an option (for instance, live situations).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Kick subs<\/strong><\/h3>\n\n\n\n<p>Kick sub mics are easy to put together, and the concept is pretty simple. If you wire a speaker as you would a microphone, then you just made a dynamic microphone. The downside is that the speaker cone and magnet are many times heavier than the diaphragm you\u2019ll find in dynamic microphones.<br><br>What does that mean for the sound? For starters, expect a very slow transient response and a significantly reduced frequency response. This makes it great for capturing the kick\u2019s low end without much spill from cymbals, snare drums, etc.<\/p>\n\n\n\n<p>Because of the physics of the speaker cone (and the speaker enclosure itself), the speaker will vibrate easily to very low frequencies (eg. around 60Hz).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Homemade solutions<\/strong><\/h4>\n\n\n\n<p>You can get any 6-8\u201d speaker and wire it up to a male XLR plug. Mounting it can be trickier. You could use zip ties and a short mic stand with the boom horizontal, and hang the speaker cone off the boom.<br><br>If you\u2019d like to get fancier (like increasing the low end response by increasing resonance, or tweaking the main resonant frequency), you can build a speaker cabinet to house the speaker. The size of the cabinet\/box and the size of the port hole (if any) will change the resonant frequency and the amount of resonance captured by your homemade subkick.<\/p>\n\n\n\n<p>If you want to get really fancy, try and get an original <strong><a href=\"https:\/\/amzn.to\/3aOZSyF\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Yamaha NS10<\/a><\/strong> speaker. These speaker cones have an interesting resonant frequency that make them great candidates &#8211; perhaps the reason why people started building kick subs all those decades ago.&nbsp;<\/p>\n\n\n\n<p>If you don\u2019t want to build your own, here are two really good commercially available options:<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/www.musiciansfriend.com\/pro-audio\/yamaha-subkick-low-frequency-capture-device\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Yamaha Subkick<\/a> (used)<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195554\/Yamaha-subkick.jpg\" alt=\"\" class=\"wp-image-28328\" width=\"675\" height=\"601\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195554\/Yamaha-subkick.jpg 900w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195554\/Yamaha-subkick-300x267.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195554\/Yamaha-subkick-768x684.jpg 768w\" sizes=\"(max-width: 675px) 100vw, 675px\" \/><\/figure><\/div>\n\n\n<p>It\u2019s been around for many years and it\u2019s absolutely roadworthy. Many engineers will immediately recognize how it sounds and what it does to the drum kit.<\/p>\n\n\n\n<p>Yamaha no longer manufactures these subkicks, but they\u2019re very common on the second hand market.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/amzn.to\/3e65C9o\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Solomon LoFReQ Sub Mic<\/a> &#8211; $199<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"788\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195811\/Solomon-LoFREq-Sub-Mic-1024x788.png\" alt=\"\" class=\"wp-image-28329\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195811\/Solomon-LoFREq-Sub-Mic-1024x788.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195811\/Solomon-LoFREq-Sub-Mic-300x231.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195811\/Solomon-LoFREq-Sub-Mic-768x591.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195811\/Solomon-LoFREq-Sub-Mic.png 1500w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n<p>A more recent entry to this category, I personally find that the Solomon has a more focused sound and better transient response than its counterparts, and noticeable spill rejection.&nbsp;<\/p>\n\n\n\n<p>It\u2019s had a lot of praise, and unlike the Yamaha Subkick, it\u2019s still in production!<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><\/h2>\n\n\n<h2 id=\"Snare_mics\" style=\"color: #0b76db;\"><strong>Snare drum mics<\/strong><\/h2>\n\n\n<p>Before getting into snare mics, I want to say one thing: <em>you can\u2019t go wrong with a<\/em><strong><em> <\/em><\/strong><a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"><strong><em>Shure SM57<\/em><\/strong>.<\/a><br><\/p>\n\n\n\n<p>After that, it\u2019s about sound preference. Or trying to get some characteristic the engineer prefers to that of another microphone.<\/p>\n\n\n\n<p>You can always add more than one microphone on top and blend it to your heart\u2019s content, as well as add a snare bottom microphone, focused on capturing your snares.<\/p>\n\n\n\n<p>I have a few <a href=\"https:\/\/wilkinsonaudio.com\/collections\/microphone-clips\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Wilkinson Audio mic clips<\/a> for the dual snare top setups, but even tape will do. Just put some rubber between the microphones so they don\u2019t grind against each other.<\/p>\n\n\n\n<p>Don\u2019t forget to flip the phase of the snare bottom mic in relation to your snare top mic. Otherwise, you\u2019ll lose a lot of the low-end on that snare.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><th colspan=\"3\"><strong>Recommended Snare Drum Microphones<\/strong><\/th><\/tr><tr><td><strong>Brand\/Model<\/strong><\/td><td><strong>Use<\/strong><\/td><td><strong>Price<\/strong><\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a><\/td><td>Snare Top, Snare Bottom<\/td><td>$99<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/ORB3OG\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta57<\/a><\/td><td>Snare Top<\/td><td>$139<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix i5<\/a><\/td><td>Snare Top<\/td><td>$99<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/e4vPeg\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM7B<\/a><\/td><td>Snare Top<\/td><td>$399<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/e41nZr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM184<\/a> (KM84)<\/td><td>Snare Top, preferred as a second mic<\/td><td>$799<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a><\/td><td>Snare Top (for drummers who play with dynamics)<\/td><td>$4000<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a> &#8211; $99<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"693\" height=\"586\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195928\/Shure-SM57.jpg\" alt=\"\" class=\"wp-image-28330\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195928\/Shure-SM57.jpg 693w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11195928\/Shure-SM57-300x254.jpg 300w\" sizes=\"(max-width: 693px) 100vw, 693px\" \/><\/figure><\/div>\n\n\n<p>If you could have one mic to rule them all, the <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SM57<\/a> is nearly indestructible, one of the best all-around mics, and one of the most sold in the world since 1965. You can never have enough SM57s. They\u2019re great for vocals, guitar amps, Leslie cabinets, brass instruments, snare drums, toms, cajons, hi-hats, percussion, and even acoustic guitar and similar instruments (in a pinch).&nbsp;<\/p>\n\n\n\n<p>Shure\u2019s policy says that their dynamic mics should never distort in real world applications. So they don\u2019t disclose the max SPL in the tech sheet, but you can be sure that this microphone can stand a very high SPL without distorting or otherwise degrading the signal, and it has a fairly accurate transient response for a dynamic microphone &#8211; all without breaking the bank.<\/p>\n\n\n\n<p>It\u2019s one of the most widely used &#8211; if not <em>the<\/em> most used &#8211; mics for snare drums, both top and bottom.<\/p>\n\n\n\n<p>If you feel the need to upgrade, the<strong> <a href=\"https:\/\/imp.i114863.net\/ORB3OG\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta 57A<\/a><\/strong> isn\u2019t much more expensive, and I find it has a slightly better transient response, flatter frequency response, higher output, and a super-cardioid pattern which can help you achieve less hi-hat spill when capturing your snare drum.<\/p>\n\n\n\n<p>If you want to get the \u201cthump\u201d you hear in metal recordings, the <a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix i5<\/a> and the <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM7 <\/a>are good choices.<\/p>\n\n\n\n<p>If you need a more open and detailed sound with higher rejection from other sound sources, the Earthworks offerings are probably your best bet, or pairing a small diaphragm condenser with the SM57<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/ORB3OG\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta 57A<\/a> &#8211; $139<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/eAONcV3_dgXHbCo6FLBbE7Jzc6QHQ7c22wgn_lVWuZ2xZuAhyXWSkIX3RaEJ9vPZik7KFs3BZh9Hq81aQW2pNNOZFSWWr5drMiqpw9l_2TjB9WzPQreluE7S5FI_EQQwozX3_WKm\" alt=\"\" width=\"649\" height=\"590\" title=\"\"><\/figure><\/div>\n\n\n<p>This cheap upgrade from the SM57 has more low-end response than the <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a>, but less presence and top end. It also has a hotter output and a slightly more focused polar pattern which can help isolate your snare sound.<\/p>\n\n\n\n<p>For alternatives, see the Shure SM57 section.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix i5<\/a> &#8211; $99<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202123\/Audix-i5-922x1024.png\" alt=\"\" class=\"wp-image-28333\" width=\"461\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202123\/Audix-i5-922x1024.png 922w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202123\/Audix-i5-270x300.png 270w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202123\/Audix-i5-768x853.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202123\/Audix-i5.png 1350w\" sizes=\"(max-width: 461px) 100vw, 461px\" \/><\/figure><\/div>\n\n\n<p>This is a beast of a mic for modern music production. As with the <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a>, this microphone has a sound of its own: a pre-EQ\u2019d frequency response and an almost \u2018pre-compressed\u2019 feel that\u2019ll help your snare drum get that snap.<br><br><\/p>\n\n\n<p><iframe loading=\"lazy\" title=\"Todd Sucherman Drum Solo - Drumeo\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/j6NoINimNrw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/e4vPeg\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM7B<\/a>&#8211; $399<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202335\/Shure-SM7B.jpg\" alt=\"\" class=\"wp-image-28335\" width=\"523\" height=\"428\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202335\/Shure-SM7B.jpg 697w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202335\/Shure-SM7B-300x246.jpg 300w\" sizes=\"(max-width: 523px) 100vw, 523px\" \/><\/figure><\/div>\n\n\n<p>Because of the sheer size of this mic, it might be hard to squeeze it in if the drummer has a lot of rack toms. But if we\u2019re talking about needing a snare drum that slams even more than the <a href=\"https:\/\/imp.i114863.net\/JrbyON\" target=\"_blank\" rel=\"noreferrer noopener\">i5<\/a>, this is a good way to get it before diving into processors and <a href=\"https:\/\/www.drumeo.com\/beat\/the-ultimate-guide-to-drum-samples\/\" target=\"_blank\" rel=\"noreferrer noopener\">sample reinforcement\/augmentation<\/a>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/e41nZr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM184<\/a> (formerly KM84) &#8211; $799<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202423\/Neumann-KM184-KM84.png\" alt=\"\" class=\"wp-image-28336\" width=\"548\" height=\"548\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202423\/Neumann-KM184-KM84.png 730w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202423\/Neumann-KM184-KM84-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11202423\/Neumann-KM184-KM84-150x150.png 150w\" sizes=\"(max-width: 548px) 100vw, 548px\" \/><\/figure><\/div>\n\n\n<p>I\u2019ve often used a small diaphragm condenser alongside a dynamic for better transient representation and a more open sound, especially if the drummer plays a lot of intricate parts on the snare or has a wider dynamic range (from very loud back beats to soft ghost notes).<br><br>However, this only works when the drummer has a very good control over their dynamics, and can keep cymbals in check &#8211; namely the hi-hat. If this isn\u2019t the case, you might want to skip this mic.<\/p>\n\n\n\n<p>Similar models are the <strong><a href=\"https:\/\/imp.i114863.net\/5b5kPj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DPA4011<\/a><\/strong> and the <strong><a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a><\/strong>, or for those of you on a budget, the <strong><a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a><\/strong>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47 FET<\/a> &#8211; $4000<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png\" alt=\"\" class=\"wp-image-28324\" width=\"548\" height=\"548\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png 730w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-150x150.png 150w\" sizes=\"(max-width: 548px) 100vw, 548px\" \/><\/figure><\/div>\n\n\n<p>This is a fantastic microphone: warm, good saturation, and picks up a nice and full sound. It\u2019ll get all those lovely details from the shell, or if the drummer is playing with brushes. I\u2019ve put this microphone on snare drums more than once when recording soft jazz bands, ballads, and blues, and it did not disappoint.<\/p>\n\n\n\n<p>The downsides to this mic aside from the high price:<\/p>\n\n\n\n<ul>\n<li>Don\u2019t put it next to a really loud drummer, or you might overload your preamp and your mic might clip\/distort. This is for delicate players &#8211; the ones who rely on touch, soft dynamics, and little details.&nbsp;<\/li>\n\n\n\n<li>If you\/the drummer hit this mic repeatedly while playing, it\u2019s guaranteed that the studio will never let you come back. Only use it if it\u2019s going to be safe!<\/li>\n\n\n\n<li>This mic will work great if the drummer plays a soft hi-hat ostinato, but you\u2019ll definitely have trouble working with it in the mix if the drummer is delivering a punishing performance.<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/VyxO3A\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks SR20LS<\/a> &#8211; $479<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11203224\/Earthworks-SR20LS.jpg\" alt=\"\" class=\"wp-image-28337\" width=\"353\" height=\"431\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11203224\/Earthworks-SR20LS.jpg 706w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11203224\/Earthworks-SR20LS-246x300.jpg 246w\" sizes=\"(max-width: 353px) 100vw, 353px\" \/><\/figure><\/div>\n\n\n<p>This is the exact model used in Drumeo videos. And yes, this is the Earthworks microphone that is designed and marketed for kick drums!<\/p>\n\n\n\n<p>It has a very high SPL rating, but also presents us with a smoother roll off on the low end frequency response that can come in handy when dealing with really big sounding snares and loud backbeats.<br><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>The double snare top microphone technique<\/strong><\/h4>\n\n\n\n<p>If you use a special mount like a Wilkinson Audio mic clip, you can place two small microphones next to each other. Popular choices for this are small diaphragm condensers (which will be covered in the next section) like the <strong><a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a><\/strong>, <strong><a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a><\/strong>, or <strong><a href=\"https:\/\/imp.i114863.net\/e41nZr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM84<\/a><\/strong> (KM184).<\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n<h2 id=\"Tom_mics\" style=\"color: #0b76db;\"><strong>Tom mics<\/strong><\/h2>\n\n\n<p>Some of them are plain cheap, but they work, and are so widely used that you should have no problem finding them. Some are expensive, but they\u2019re absolute classics that have been on nearly every recording for the last few decades.<\/p>\n\n\n\n<p>The only \u2018newcomer\u2019 to this list would be the <strong><a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks DM20<\/a><\/strong>, and I\u2019m going to say it: if your rack toms need to be captured with crystal clear high definition, and spill is a big issue for you, spring for the DM20 immediately and you won\u2019t regret it.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><th colspan=\"3\"><strong>Recommended Tom Microphones<\/strong><\/th><\/tr><tr><td><strong>Brand\/Model<\/strong><\/td><td><strong>Use<\/strong><\/td><td><strong>Price<\/strong><\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser e604<\/a><\/td><td>Rack Toms, Floor Toms<\/td><td>$149<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/O6kMz\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser MD421<\/a><\/td><td>Rack Toms, Floor Toms<\/td><td>$349<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks DM20<\/a><\/td><td>Rack Toms, Floor Toms<\/td><td>$349<\/td><\/tr><tr><td><a href=\"https:\/\/vintageking.com\/josephson-e22s\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Josephson e22<\/a><\/td><td>Rack Toms, Floor Toms<\/td><td>$1515<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/kjO4XN\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AudioTechnica ATM25<\/a> (ATM250)<\/td><td>Floor Toms<\/td><td>$199<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/GjKb5k\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure KSM32<\/a><\/td><td>Floor Toms<\/td><td>$439<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/MXAKY2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Electrovoice RE20<\/a><\/td><td>Floor Toms<\/td><td>$449<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser e604<\/a> &#8211; $149<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205536\/Sennheiser-e604.jpg\" alt=\"\" class=\"wp-image-28340\" width=\"473\" height=\"540\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205536\/Sennheiser-e604.jpg 631w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205536\/Sennheiser-e604-263x300.jpg 263w\" sizes=\"(max-width: 473px) 100vw, 473px\" \/><\/figure><\/div>\n\n\n<p>They\u2019re cheap, rugged, and totally do the job.<\/p>\n\n\n\n<p><br>You are probably going to buy 3 (if you have a 5 piece kit) so look for a bundle as it\u2019ll make it even cheaper.<\/p>\n\n\n\n<p>The <a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e604s<\/a> clip right onto your rims (but you can also mount them on regular mic stands) and are decent on both rack and floor toms, with a good transient response and a decent spill rejection. They\u2019re common in live shows but have found their way onto smaller and budget studio rigs because you don\u2019t need to buy microphone stands.<\/p>\n\n\n\n<p><br>If you want a better frequency response or transient response than what this model provides, you can always upgrade to any of the other mics in this section. If you need something really clinical and high-fidelity, skip straight to the<a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"> Earthworks DM20s<\/a>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/O6kMz\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sennheiser MD421 <\/a>&#8211; $349<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205638\/Sennheiser-MD421.jpg\" alt=\"\" class=\"wp-image-28341\" width=\"422\" height=\"443\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205638\/Sennheiser-MD421.jpg 562w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205638\/Sennheiser-MD421-285x300.jpg 285w\" sizes=\"(max-width: 422px) 100vw, 422px\" \/><\/figure><\/div>\n\n\n<p>This is the classic tom microphone heard on countless records since the 1960s. This is also a really good addition to any studio as it\u2019s a diverse mic that can work for vocals, guitar cabinets, and (some) brass instruments.<\/p>\n\n\n\n<p>I have a love-hate relationship with this microphone. While it\u2019s one of the nicest sounding mics to put on a tom (it has a nicer frequency response than the <a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e604<\/a> and the transients come through better), the clip is a nightmare. Most of these, if not cared for properly, can detach from their clip mid-performance and fall on your toms. They are also <em>huge<\/em>, making them hard to squeeze into larger setups, or where the cymbals are low.<\/p>\n\n\n\n<p>The only time you\u2019d want to \u2018upgrade\u2019 from this mic is if you\u2019re micing a floor tom and want an extended frequency response or more detail on the initial transient.<\/p>\n\n\n\n<p>And, once more, if you are looking for a high-definition solution for the toms, the DM20 is the way to go!<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks DM20<\/a> &#8211; $349<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205751\/Earthworks-DM20.jpg\" alt=\"\" class=\"wp-image-28343\" width=\"143\" height=\"450\" title=\"\"><\/figure><\/div>\n\n\n<p>The <a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DM20<\/a> has one of the most defined transient responses from all tom microphones I\u2019ve used (including the Josephson) and an incredible frequency response. The way this mic captures drum shells is the closest thing you\u2019ll get to having your ear close to a rack tom (which I don\u2019t recommend you do, by the way!).<\/p>\n\n\n\n<p>The clip works exceptionally well on toms, the signal is clear, and it doesn\u2019t overload preamps like some condenser mics.<\/p>\n\n\n\n<p>If you know you\u2019ll be recording clear, high definition drums all the time, look no further than this. But if you think you might be recording a lot of music that has that dirtier, big sound, you might get there faster with a dynamic microphone.&nbsp;<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/vintageking.com\/josephson-e22s\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Josephson e22<\/a> &#8211; $1515<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"500\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205829\/Josephson-e22.jpg\" alt=\"\" class=\"wp-image-28345\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205829\/Josephson-e22.jpg 200w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11205829\/Josephson-e22-120x300.jpg 120w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/><\/figure><\/div>\n\n\n<p>This is a <em>really <\/em>nice microphone. It\u2019ll deliver low-level detail, exceptional transient response, and can handle a high SPL without distorting.<br><br>What sets it apart from the <a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DM20<\/a> is that this has some of the feel you get with microphones like the <a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">U47<\/a>. It brings in a tiny bit of saturation, and a little blanket over the whole thing, which makes it a bit warmer sounding than other mics (no doubt due to the slightly larger capsule size and the built-in transformer).<\/p>\n\n\n\n<p>Worth the price tag? I\u2019ll let you decide &#8211; but an option to keep in mind if you ever walk into a commercial studio that has a couple in their mic locker!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Floor tom mics<\/strong><\/h3>\n\n\n\n<p>No need to repeat the above microphones: you can\u2019t go wrong with the <strong><a href=\"https:\/\/imp.i114863.net\/7maXDY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">e604<\/a><\/strong>, <strong><a href=\"https:\/\/imp.i114863.net\/O6kMz\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">MD421<\/a><\/strong>, <strong><a href=\"https:\/\/vintageking.com\/josephson-e22s\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Josephson<\/a>, <\/strong>or <strong><a href=\"https:\/\/imp.i114863.net\/2raR9z\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DM20<\/a> <\/strong>on the floor toms. However, sometimes you want the floor toms sounding more like secondary bass drums. In this case, you might want to check out some alternatives.<\/p>\n\n\n\n<p>(Note: If you purchased an Audix bundle, you will have the <a href=\"https:\/\/imp.i114863.net\/2raRXA\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D4<\/a>, which is already tailored for floor toms and extended low-frequency responses.)<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/kjO4XN\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audio Technica ATM250<\/a> (formerly ATM25) &#8211; $199<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-1024x1024.png\" alt=\"\" class=\"wp-image-28347\" width=\"512\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-1024x1024.png 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-150x150.png 150w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-768x768.png 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25-1536x1536.png 1536w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210121\/Audio-Technica-ATM250-ATM25.png 2000w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/><\/figure><\/div>\n\n\n<p>This mic is like an aggressive version of the <a href=\"https:\/\/imp.i114863.net\/DjYoo\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Audix D6<\/a> that does very well on tight but extra low-tuned floor toms. It has a bit of an EQ and compression feel to it, which will help you get that low thump sound right off the bat.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/GjKb5k\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure KSM32<\/a> &#8211; $439<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210249\/Shure-KSM32.jpg\" alt=\"\" class=\"wp-image-28349\" width=\"337\" height=\"428\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210249\/Shure-KSM32.jpg 449w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210249\/Shure-KSM32-236x300.jpg 236w\" sizes=\"(max-width: 337px) 100vw, 337px\" \/><\/figure><\/div>\n\n\n<p>Compared to most other mics in this category, I find that the <a href=\"https:\/\/imp.i114863.net\/GjKb5k\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">KSM32<\/a> provides a more accurate depiction of the resonance and decay of the floor tom.<br><\/p>\n\n\n\n<p>Compared to bulky dynamic mics that offer compression at the expense of definition, a large diaphragm condenser like the <a href=\"https:\/\/imp.i114863.net\/GjKb5k\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">KSM32<\/a> will provide clear attack while retaining detail from the room and shell.<\/p>\n\n\n\n<p>Because this mic is more sensitive than the previous dynamic microphone options, try not to hit the cymbals too loud, especially if there\u2019s a china or crash right above the floor tom.<\/p>\n\n\n\n<p>This mic is also a great overhead, so its versatility is just one more reason to add this to your collection.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/MXAKY2\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Electrovoice RE20<\/a> &#8211; $449<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190244\/ElectroVoice-RE20-1-251x1024.png\" alt=\"\" class=\"wp-image-28326\" width=\"126\" height=\"512\" title=\"\"><\/figure><\/div>\n\n\n<p>Not only is this a nice Kick Out microphone, but it performs well on floor toms. Save this one for softer players who have low tuned but wide open floor toms. Having said that, this microphone does have a good range of applications and will work well in most situations.<\/p>\n\n\n<h2 id=\"Overhead_mics\" style=\"color: #0b76db;\"><strong>Overhead mics<\/strong><\/h2>\n\n\n<p>Overheads can be finicky. They can drastically change the sound of your kit.<\/p>\n\n\n\n<p>Some engineers think of them as cymbal mics, while others approach them as an \u2018overall picture\u2019 of the drum set.<\/p>\n\n\n\n<p>As if that choice alone didn\u2019t have a huge impact on sound, then there\u2019s the technical choices such as placing overheads as an AB or XY stereo pair, an ORTF rig, or going for a 3:1 rule with the focus on picking up the cymbals.<\/p>\n\n\n\n<p>Ask yourself these questions when choosing overhead mics:<\/p>\n\n\n\n<ul>\n<li>Do I want a very detailed, crisp picture, and a perfect stereo image of the kit? (If yes, go with a <strong>small<\/strong> <strong>diaphragm condenser mic<\/strong>)<\/li>\n\n\n\n<li>Or do I want a more rock and roll approach: big sound, big room, big tails on cymbals and drums? (If so, go with a <strong>large diaphragm condenser mic<\/strong>)<\/li>\n<\/ul>\n\n\n\n<p>To reiterate, small diaphragm condensers are better for detail and precision, and large diaphragm condensers are better for more of a big, full-bodied sound.<\/p>\n\n\n\n<p>In each section you\u2019ll get a pair choice for bright and dark options for a variety of budgets.<\/p>\n\n\n\n<p>And don\u2019t forget: for most applications (and if you want your cymbals to have a nice stereo spread on your tracks) you\u2019ll need at least 2 microphones. Get a matched pair if you can!<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><th colspan=\"3\">Recommended Overhead Microphones<\/th><\/tr><tr><td>Brand\/Model<\/td><td>Large\/Small Diaphragm<\/td><td>Price<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/EaE0j4\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Aston Origin<\/a><\/td><td>Large<\/td><td>$299<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/5XWVj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C414<\/a><\/td><td>Large<\/td><td>$1099<\/td><\/tr><tr><td><a href=\"https:\/\/www.sontronics.com\/aria\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics Aria<\/a><\/td><td>Large<\/td><td>$1499<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a><\/td><td>Large<\/td><td>$4000<\/td><\/tr><tr><td><a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a><\/td><td>Small<\/td><td>$199<\/td><\/tr><tr><td><a href=\"https:\/\/www.fostexinternational.com\/docs\/products\/MC10ST.shtml\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Fostex MC10ST<\/a><\/td><td>Small (Pair)<\/td><td>$150<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a><\/td><td>Small<\/td><td>$549<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/e41nZr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM84<\/a> (KM184)<\/td><td>Small<\/td><td>$799<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/5b5kPj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DPA 4011<\/a><\/td><td>Small<\/td><td>$1799<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/qnz2xq\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure KSM141<\/a><\/td><td>Small<\/td><td>$399<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/mgO43X\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks SR25MP<\/a><\/td><td>Small (Pair)<\/td><td>$619<\/td><\/tr><tr><td><a href=\"https:\/\/imp.i114863.net\/x9LN53\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">BeyerDynamic M160<\/a><\/td><td>Ribbon Microphone<\/td><td>$699<\/td><\/tr><tr><td><a href=\"https:\/\/vintageking.com\/coles-4038-single\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Coles 4038<\/a><\/td><td>Ribbon Microphone<\/td><td>$1365<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Large Diaphragm Condensers<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/EaE0j4\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Aston Origin<\/a> &#8211; $299<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210517\/Aston-Origin.jpg\" alt=\"\" class=\"wp-image-28352\" width=\"500\" height=\"500\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210517\/Aston-Origin.jpg 1000w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210517\/Aston-Origin-300x300.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210517\/Aston-Origin-150x150.jpg 150w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210517\/Aston-Origin-768x768.jpg 768w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><\/figure><\/div>\n\n\n<p>This is one of the best large diaphragm condenser mics I\u2019ve come across at this price point.<\/p>\n\n\n\n<p>I wouldn\u2019t take it on the road (the mesh around the capsule feels fragile), and I\u2019d invest in a shock mount as the built in thread can make it awkward to position the microphone.<\/p>\n\n\n\n<p>I bought a pair when my<a href=\"https:\/\/imp.i114863.net\/P0O6VM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"> AKG C3000<\/a> and <a href=\"https:\/\/imp.i114863.net\/kjOoMx\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">C214<\/a> started showing signs of age, and I\u2019ve used them in my home studio as my overheads ever since, paired with the Rycotte USM shock mounts.<\/p>\n\n\n\n<p>This is an amazing starting point for the price, and depending on your room and cymbals, this mic should set you up for quite a while.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/5XWVj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C414<\/a> (XLS\/XLII) &#8211; $1099<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210844\/AKG-C414.jpg\" alt=\"\" class=\"wp-image-28355\" width=\"326\" height=\"428\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210844\/AKG-C414.jpg 652w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11210844\/AKG-C414-229x300.jpg 229w\" sizes=\"(max-width: 326px) 100vw, 326px\" \/><\/figure><\/div>\n\n\n<p>There are two models, but I recommend sticking with the XLS.<br><br>This is probably the most widely used all-purpose large diaphragm condenser microphone out there. You\u2019ll probably find this mic as an overhead at a lot of live shows and commercial studios, and used for everything from overheads to guitars and vocals<br><br>I find this microphone to sit in between a small diaphragm and a large diaphragm mic in terms of sound, so it feels to me like it doesn\u2019t do either very well, in addition to being quite bright. Opt for something else if you prefer a darker sound.<\/p>\n\n\n\n<p>In the same price range, I\u2019d recommend the<strong> <a href=\"https:\/\/imp.i114863.net\/AoPE3J\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann TLM103<\/a><\/strong>. It has a bit more bottom end and more of the big room feel, with a top-end that isn\u2019t as pronounced (but still present).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/www.sontronics.com\/aria\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics Aria<\/a> &#8211; $1499<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212534\/Sontronics-Aria.png\" alt=\"\" class=\"wp-image-28357\" width=\"225\" height=\"393\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212534\/Sontronics-Aria.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212534\/Sontronics-Aria-172x300.png 172w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/figure><\/div>\n\n\n<p>I really like this mic as an overhead. It has slightly more body and presence and that \u2018big room sound\u2019 than the <a href=\"https:\/\/imp.i114863.net\/5XWVj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C414<\/a> (XLS\/XLII), and it\u2019s closer in performance to the vintage <strong><a href=\"https:\/\/imp.i114863.net\/JrKmVe\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">C12<\/a><\/strong>, with a bright detailed character.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47 FET<\/a> &#8211; $4000<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png\" alt=\"\" class=\"wp-image-28324\" width=\"548\" height=\"548\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET.png 730w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11190144\/Neumann-U47-FET-150x150.png 150w\" sizes=\"(max-width: 548px) 100vw, 548px\" \/><\/figure><\/div>\n\n\n<p>If you\u2019re looking for something truly special &#8211; the kind of thing people look for in high-end studio lockers &#8211; the first versions of the Neumann U47 microphones are incredible. They have a nice saturation and a top-end that\u2019s so smooth your cymbals will sound like butter to your ears.<\/p>\n\n\n\n<p>But like the original <a href=\"https:\/\/imp.i114863.net\/XxmXOy\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U67<\/a> and <a href=\"https:\/\/imp.i114863.net\/JrKmVe\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C12<\/a>, most of these will be unobtainable, and only engineers and some musicians will notice and appreciate the improvement over other models.<br><\/p>\n\n\n\n<p>While we\u2019re dreaming of some of the nicest microphones on the planet, other mics in the same category would be the <strong>Neumann U67<\/strong>, <strong>AKG C12 (original),<\/strong> and the<strong> <a href=\"https:\/\/imp.i114863.net\/WDyGRO\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sony C800<\/a><\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Small Diaphragm Condensers<\/strong><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a> &#8211; $199<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212704\/Sontronics-STC1.jpg\" alt=\"\" class=\"wp-image-28359\" width=\"113\" height=\"412\" title=\"\"><\/figure><\/div>\n\n\n<p>There are plenty of small diaphragm condenser microphones in this price range (and cheaper), but they\u2019re versatile and beat out other commercial offerings. Even when you aren\u2019t using these for overheads, you can still use <a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">STC1s<\/a> as cymbal spot mics, on guitars, marimbas, percussion, you name it.<\/p>\n\n\n\n<p>I bought a pair when they were released in 2005, and for the next 3 years I used to carry these in a fabric pencil case in my backpack every day, bringing them to shows in the scorching sun and freezing rain, and they work perfectly after over 15 years. The only downside is if you\u2019re working in a bright room with bright cymbals, these overheads can be pretty bright.<br><br>You could upgrade these to the <a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451s<\/a>, but I find it pretty hard to justify the price difference.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/www.fostexinternational.com\/docs\/products\/MC10ST.shtml\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Fostex MC10ST<\/a> &#8211; $150 (pair)<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"593\" height=\"299\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212748\/Fostex-MC10ST.jpg\" alt=\"\" class=\"wp-image-28360\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212748\/Fostex-MC10ST.jpg 593w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212748\/Fostex-MC10ST-300x151.jpg 300w\" sizes=\"(max-width: 593px) 100vw, 593px\" \/><\/figure><\/div>\n\n\n<p>Not as bright as the <a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">STC1s<\/a>, this is the smoothest little pair of small diaphragm condensers I know at a price that won\u2019t break the bank.<br><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a> &#8211; $549<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212858\/AKG-C451.jpg\" alt=\"\" class=\"wp-image-28361\" width=\"410\" height=\"409\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212858\/AKG-C451.jpg 820w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212858\/AKG-C451-300x300.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212858\/AKG-C451-150x150.jpg 150w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11212858\/AKG-C451-768x765.jpg 768w\" sizes=\"(max-width: 410px) 100vw, 410px\" \/><\/figure><\/div>\n\n\n<p>This is a classic overhead microphone. If you decide to upgrade or swap it for a large diaphragm overhead, you can always use the <a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">C451<\/a> for hi-hats, ride cymbals, snare drums, or miscellaneous percussion.<\/p>\n\n\n\n<p>It has a bright, detailed sound that\u2019s very focused, but also a bit harsh. You might want to consider some of the upgrades from here: <strong><a href=\"https:\/\/imp.i114863.net\/ORem4K\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM184<\/a><\/strong>, <strong><a href=\"https:\/\/imp.i114863.net\/2raWMM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure KSM137<\/a>,<\/strong> and <strong><a href=\"https:\/\/imp.i114863.net\/qnz2xq\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">KSM141<\/a>,<\/strong> or the incredible <strong><a href=\"https:\/\/imp.i114863.net\/mgO43X\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks SR25<\/a><\/strong>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/5b5kPj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DPA 4011<\/a> &#8211; $1799<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"578\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213015\/DPA-4011-1024x578.jpg\" alt=\"\" class=\"wp-image-28365\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213015\/DPA-4011-1024x578.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213015\/DPA-4011-300x169.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213015\/DPA-4011-768x433.jpg 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213015\/DPA-4011.jpg 1170w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n<p>This is one of my favorite spot mics of all time, and also dubs really well as an overhead pair.<br>It can be put super close to sound sources with no real issue, and has incredible spill rejection.<\/p>\n\n\n\n<p>Both the frequency response and the phase response are so good that it\u2019s become a favorite for spot-mic duties in large orchestra recordings. And it\u2019s fully configurable too (you can change the body size).<\/p>\n\n\n\n<p>While it comes with a large price tag, it\u2019s one of those classic mics that are used in environments where you can\u2019t put a price tag on quality.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/ORem4K\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM184 (formerly KM84)<\/a> &#8211; $799<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11221737\/Neumann-KM184-KM84-1.png\" alt=\"\" class=\"wp-image-28401\" width=\"548\" height=\"548\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11221737\/Neumann-KM184-KM84-1.png 730w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11221737\/Neumann-KM184-KM84-1-300x300.png 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11221737\/Neumann-KM184-KM84-1-150x150.png 150w\" sizes=\"(max-width: 548px) 100vw, 548px\" \/><\/figure><\/div>\n\n\n<p>Although the KM184 reissues are very different from the KM84, these are really nice overhead mics (and spot mics!). No harshness and a ton of detail. Because it uses a transformer as part of its design, you get a nice soft saturation to it.<br><br>This model is worth every penny if you\u2019re upgrading from the <a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">STC1<\/a> or the <a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/qnz2xq\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure KSM 141<\/a> &#8211; $399<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213101\/Shure-KSM141.jpg\" alt=\"\" class=\"wp-image-28366\" width=\"533\" height=\"507\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213101\/Shure-KSM141.jpg 711w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213101\/Shure-KSM141-300x285.jpg 300w\" sizes=\"(max-width: 533px) 100vw, 533px\" \/><\/figure><\/div>\n\n\n<p>Another good offering when it comes to small diaphragm options is the KSM141 (and the cheaper alternative, KSM 131). The 141 is a well-balanced small diaphragm condenser that offers lots of detail without being overly bright.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/mgO43X\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Earthworks SR25<\/a> &#8211; $619<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213155\/Earthworks-SR25.jpg\" alt=\"\" class=\"wp-image-28367\" width=\"444\" height=\"448\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213155\/Earthworks-SR25.jpg 592w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213155\/Earthworks-SR25-297x300.jpg 297w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213155\/Earthworks-SR25-150x150.jpg 150w\" sizes=\"(max-width: 444px) 100vw, 444px\" \/><\/figure><\/div>\n\n\n<p>One of the most detailed and flattest microphones I\u2019ve come across, a pair of <a href=\"https:\/\/imp.i114863.net\/mgO43X\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SR25s<\/a> gives you an excellent stereo image and detailed transients and tails from cymbals and shells alike.<\/p>\n\n\n\n<p>It\u2019s hard to see any other microphone compete in the same category unless you want a slightly different sound (eg. the slight saturation from a <a href=\"https:\/\/imp.i114863.net\/ORem4K\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann KM84<\/a>, or the big sound offered by large condenser microphones). This mic has it all, despite being slightly more expensive than other options.<\/p>\n\n\n\n<p>If you do decide on the <a href=\"https:\/\/imp.i114863.net\/mgO43X\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SR25s<\/a> as your overhead pair, make sure you buy a matched pair as it helps increase the definition when used in stereo pair configurations (XY\/AB\/ORTF).<\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n\n\n<h3 class=\"wp-block-heading\"><strong>Ribbon Microphones<\/strong><\/h3>\n\n\n\n<p><a href=\"https:\/\/imp.i114863.net\/BXn5z9\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Ribbon mics <\/a>are special because they use a magnetic strip suspended between magnets to capture sound equally from the front and the back of the microphone (also known as the \u2018figure-8\u2019 directional pattern).<\/p>\n\n\n\n<p>Because of this configuration, they can be trickier to use than other mic types. If your ceiling is too low, and made out of hard and smooth materials like concrete, glass or tile, this could actually cause problems for your recording.<br><br>But if your room allows it, ribbon mics can be magical as overhead pairs:<\/p>\n\n\n\n<ul>\n<li>They have a roomier sound because they capture sound from both the front and the back, which includes indirect sound.<\/li>\n\n\n\n<li>These microphones tend to be much darker than any other large diaphragm condensers, which can help tame brash cymbals or even get you closer to that lo-fi drum sound that\u2019s so popular among many indie and alt-rock artists.<\/li>\n<\/ul>\n\n\n\n<p>If you&#8217;ve never used a ribbon microphone before:<\/p>\n\n\n\n<ul>\n<li><strong>Not all ribbon mics have protection against phantom power<\/strong>. Make a habit of turning off phantom power or using a phantom power blocker on ribbon mics unless you\u2019ve read the user manual beforehand.<\/li>\n\n\n\n<li><strong>Ribbon mics might need more gain than you are used to with other types of microphones<\/strong>. If you have budget preamps, you might not have enough gain to properly drive these microphones. If that\u2019s the case, you can get in-line preamps like the FetHead, or an external preamp that has a bit more gain. Make sure that the in-line preamp blocks the phantom power, or you might ruin your beautiful ribbon mic.<\/li>\n\n\n\n<li>For those of you with trained ears or those who are into the technical stuff, if you have a preamp with different impedances make sure you try them. It\u2019ll significantly change the character of the sound captured by (most) ribbon mics.<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/x9LN53\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">BeyerDynamic M160<\/a> &#8211; $699<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213239\/BeyerDynamic-M160.jpg\" alt=\"\" class=\"wp-image-28368\" width=\"542\" height=\"553\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213239\/BeyerDynamic-M160.jpg 542w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213239\/BeyerDynamic-M160-294x300.jpg 294w\" sizes=\"(max-width: 542px) 100vw, 542px\" \/><\/figure><\/div>\n\n\n<p>While there are cheaper options, this is the first one I would feel comfortable recommending as a \u2018budget\u2019 ribbon microphone for overhead duties (see the room mic section for a cheaper ribbon mic).<\/p>\n\n\n\n<p>The <a href=\"https:\/\/imp.i114863.net\/x9LN53\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">M160<\/a> has been around for many years and you\u2019ll often encounter it in smaller studios. It\u2019s a good choice if you want a darker drum sound without shelling out for the <a href=\"https:\/\/vintageking.com\/coles-4038-single\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Coles 4038<\/a>.<\/p>\n\n\n\n<p>Having said that, the Coles are fantastic and will always be the preferred upgrade path from the M160s.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/vintageking.com\/coles-4038-single\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Coles 4038<\/a> &#8211; $1365<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-1024x1024.jpg\" alt=\"\" class=\"wp-image-28369\" width=\"512\" height=\"512\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-1024x1024.jpg 1024w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-300x300.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-150x150.jpg 150w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-768x768.jpg 768w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038-1536x1536.jpg 1536w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213449\/Coles-4038.jpg 2000w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/><\/figure><\/div>\n\n\n<p>The Coles is the classic ribbon microphone used in overhead setups. These beasts are <em>heavy<\/em>, so make sure you have 2 solid, high quality microphone stands available when purchasing or renting a pair of these for your recordings.<\/p>\n\n\n\n<p>Even though this model comes with a heavy duty casing, it\u2019s still a ribbon mic, so handle with care.<\/p>\n\n\n<h2 id=\"Spot_mics\" style=\"color: #0b76db;\"><strong>Spot mics<\/strong><\/h2>\n\n\n<h3 class=\"wp-block-heading\"><strong>Hi-hat and ride mics<\/strong><\/h3>\n\n\n\n<p>Small diaphragm condensers are typically favored for this role because they\u2019ll let you capture articulation and detail. I recommend the <strong><a href=\"https:\/\/imp.i114863.net\/5b5kPj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DPA 4011A<\/a><\/strong>, or the <a href=\"https:\/\/imp.i114863.net\/ORem4K\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"><strong>Neumann KM184<\/strong> <\/a>if you want something warmer. On a budget, the <strong><a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a><\/strong> or the<strong> <a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a><\/strong> will do just fine.<\/p>\n\n\n\n<p>However, dynamic microphones can help tame bright, harsh-sounding hi-hats. For this, I\u2019d recommend the <strong><a href=\"https:\/\/imp.i114863.net\/e4vPeg\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM7B<\/a><\/strong> and <strong><a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure SM57<\/a><\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Percussion mics<\/strong><\/h3>\n\n\n\n<p>If your drum kit has a series of other percussion pieces like <a href=\"https:\/\/imp.i114863.net\/kjgGkx\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">cowbells<\/a>, <a href=\"https:\/\/imp.i114863.net\/9WLJOY\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">chimes<\/a>, or <a href=\"https:\/\/imp.i114863.net\/P0OzAj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">timbales<\/a>, here are some tips for choosing the mics:<\/p>\n\n\n\n<p><strong>Is the source of the signal loud?&nbsp;<\/strong><\/p>\n\n\n\n<p>If you absolutely have to mic up that cowbell or those timbales, you can probably get away with a dynamic microphone like the <a href=\"https:\/\/imp.i114863.net\/QRaDM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">SM57<\/a>. In fact, the SM57 might be your preference for \u2018anything else\u2019 around the drum kit.<\/p>\n\n\n\n<p><strong>Is the source of the signal either really quiet or bright and articulate?<\/strong><\/p>\n\n\n\n<p>You might want to consider a small diaphragm microphone like the <a href=\"https:\/\/imp.i114863.net\/5b5kPj\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">DPA4011<\/a>, <a href=\"https:\/\/imp.i114863.net\/e41nZr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">KM184<\/a>, <a href=\"https:\/\/www.sontronics.com\/stc1\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Sontronics STC1<\/a>, or <a href=\"https:\/\/imp.i114863.net\/e41nPr\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C451<\/a>. Bear in mind that the more condenser mics you have around the kit, the more spill you\u2019ll have (which will make the mixing process harder).<\/p>\n\n\n<h2 id=\"Room_mics\" style=\"color: #0b76db;\"><strong>Room mics<\/strong><\/h2>\n\n\n<p>Rooms are an essential part of the drums\u2019 sound. Unless you\u2019re in a small studio with a lot of absorption, you should absolutely invest in room mics.<\/p>\n\n\n\n<p>For this role, you\u2019ll need either large diaphragm condenser mics or ribbon mics (the latter because their figure-of-eight pattern), as they can capture the nuances of all the tails and the reflections of the sound being bounced around in the room much better than any dynamic microphone.<\/p>\n\n\n\n<p>Any of the large diaphragm condensers we\u2019ve discussed in previous sections will do, but I prefer the <a href=\"https:\/\/imp.i114863.net\/159WR6\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C414 <\/a>(because of the multiple patterns), the <a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Neumann U47<\/a> or <a href=\"https:\/\/imp.i114863.net\/XxmXOy\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">U67<\/a>, and the <a href=\"https:\/\/imp.i114863.net\/JrKmVe\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG C12<\/a>. You should also consider ribbons like the Coles and the Royers (see below).<\/p>\n\n\n\n<p>Here are a few other alternatives that work really well as room microphones:<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/imp.i114863.net\/qeQ7y\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Royer R121<\/a> &#8211; $1295<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"483\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213529\/Royer-R121.jpg\" alt=\"\" class=\"wp-image-28371\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213529\/Royer-R121.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213529\/Royer-R121-186x300.jpg 186w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/figure><\/div>\n\n\n<p>These are dark but detailed room mics. They capture a lot of the room sound and almost give it a slightly compressed vibe.<\/p>\n\n\n\n<p>I recommend getting <a href=\"https:\/\/imp.i114863.net\/BXn2O0\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">two R121s<\/a> and setting them up on top of each other. This is a popular stereo recording technique known as Blumlein, which lets the engineer get a good stereo image of the kit but also pick up a fair amount of room tone. But they also work well as a spaced pair in an AB configuration.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong><a href=\"https:\/\/scopelabs.eu\/shop\/the-periscope\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Scope Labs Periscope Mic<\/a> &#8211; ~$450<\/strong><\/h4>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"450\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213557\/Periscope-Mic.jpg\" alt=\"\" class=\"wp-image-28373\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213557\/Periscope-Mic.jpg 450w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213557\/Periscope-Mic-300x300.jpg 300w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/11213557\/Periscope-Mic-150x150.jpg 150w\" sizes=\"(max-width: 450px) 100vw, 450px\" \/><\/figure><\/div>\n\n\n<p>Here\u2019s something completely different: a microphone in a copper tube that has a built in compressor and that looks like it came from under your kitchen sink.<\/p>\n\n\n\n<p>Room mic signals are often squashed with brutal compression settings, so this model does it for you.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.drumeo.com\/beat\/the-ultimate-guide-to-drum-samples\/\" target=\"_blank\" rel=\"noreferrer noopener\">Check out some photos of one in action<\/a>!<\/p>\n\n\n\n<p>This is not a lo-fi microphone, as it\u2019s an omnidirectional condenser mic that can capture everything from the low end of your kick drums to the high end of your tambourine. But at the same time, it\u2019s designed to change frequency response and dynamic response in non-linear ways, so it\u2019s hard to predict how it\u2019s going to sound until you hear it.&nbsp;<\/p>\n\n\n\n<h1 class=\"wp-block-heading\"><\/h1>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Final thoughts<\/strong><\/h3>\n\n\n\n<p>You don\u2019t need to break the bank for a good drum sound. If you\u2019re new to all this, start with a drum mic bundle and use the remainder of the guide to upgrade as you move forward.<\/p>\n\n\n\n<p>Think about the kind of music you\u2019ll mostly be recording, and what kind of content you\u2019re producing. If you decide to get a bundle, don\u2019t forget to budget for extra microphones (like an extra snare mic, or overheads), cables, and microphone stands.<\/p>\n\n\n\n<p>If you\u2019re trying to define your own sound, contact your local shop or distributor and see if they\u2019d let you borrow a couple of different mics from the list so you can make the choice yourself. You might actually prefer the loose feel of the <a href=\"https:\/\/imp.i114863.net\/ynaMv\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">AKG D112<\/a> over the <a href=\"https:\/\/imp.i114863.net\/M0PO3\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta52<\/a>, and the <a href=\"https:\/\/imp.i114863.net\/NK9GYb\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Shure Beta91<\/a> might be too clean for your kick sound needs!<br><br>Also, don\u2019t get too caught up on the hype train. Sure, it\u2019s a ton of fun to record with legendary <a href=\"https:\/\/imp.i114863.net\/n1kJPa\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">U47<\/a> and <a href=\"https:\/\/imp.i114863.net\/JrKmVe\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">C12<\/a> microphones and it\u2019s great when you can hear the difference they make to your overall sound, but a lot of listeners won\u2019t be able to hear the difference.<br><\/p>\n\n\n\n<p>I hope you have a better idea on how to plan for your next microphone purchase. Have fun recording, and don\u2019t hesitate to hit me up if you\u2019d like more suggestions or have comments about the article.<\/p>\n\n\n<h2 id=\"Table\" style=\"color: #0b76db;\"><strong>Compare all these mics side by side<\/strong><\/h2>\n\n\n<p>Want to look at your options in one convenient, easy-to-browse place? <a href=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210743\/guide-to-buying-drum-mics.pdf\" target=\"_blank\" rel=\"noopener\">Click here for a table that compares models, prices, uses, and more.<\/a><\/p>\n\n\n<p><a href=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210743\/guide-to-buying-drum-mics.pdf\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"792\" height=\"885\" src=\"https:\/\/www.musora.com\/musora-cdn\/image\/quality=85\/https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210948\/buyersguide.jpg\" alt=\"\" class=\"wp-image-28286\" title=\"\" srcset=\"https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210948\/buyersguide.jpg 792w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210948\/buyersguide-268x300.jpg 268w, https:\/\/drumeoblog.s3.amazonaws.com\/beat\/wp-content\/uploads\/2021\/05\/07210948\/buyersguide-768x858.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\" \/><\/a><\/p>\n\n\n<p><em>*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our <\/em><a href=\"https:\/\/www.drumeo.com\/privacy\/\"><em>privacy page.<\/em><\/a><\/p>\n\n\n<p><iframe class=\"email-form-include-full\" src=\"https:\/\/www.drumeo.com\/weeklyemail\" frameborder=\"none\"><\/iframe><\/p>\n<h2 id=\"Glossary\" style=\"color: #0b76db;\"><strong>Glossary<\/strong><\/h2>\n\n\n<p><strong>Articulation <\/strong>&#8211; This parameter describes how every single note or sound should sound. There are a number of words that can be used to describe how long or short a note should be, how soft or sharp the attack should be, or even if the pitch and timbre should be modified. Common articulations are legato, staccato, marcato, and tenuto for full strokes, ghost notes, rim shots, side sticks, etc.<\/p>\n\n\n\n<p><strong>Compression <\/strong>&#8211; A term used in sound engineering to illustrate the process of controlling dynamic range in an audio track. Compressors will listen to the input signal and turn it down as it goes above a certain threshold. There are other pieces of equipment that will also compress an audio source: certain mics can clip the attack or transient of a sound source, tape machines can compress audio being recorded, and valve equipment and other distortion\/saturation devices will naturally impart some degree of compression on a sound source.<\/p>\n\n\n\n<p><strong>dB SPL<\/strong> &#8211; A decibel scale based on the sound pressure level. It\u2019s a scale that allows us to indicate how loud a sound is, comparable to a unit of reference (Pascal, which measures pressure). Acoustic drum kits usually sit between 80dB and 110dB SPL, depending on who\u2019s playing, how well the kit is tuned, and the room it\u2019s played in. It\u2019s not uncommon for a well-tuned kit, in the hands of a heavy-hitting drummer, in a very small room, to reach SPL levels above 120dB.<\/p>\n\n\n\n<p><strong>Diaphragm <\/strong>&#8211; A thin material that vibrates sympathetically with the sound waves carried through the air. Condenser microphones use very thin conductive diaphragms made of gold, aluminum or copper, while dynamic microphones use mylar or other polyester films for their diaphragms. On a condenser mic, the diaphragm is also the transducer, while on a dynamic microphone, the diaphragm moves a coil, making the microphone less sensitive and less responsive to transients.<\/p>\n\n\n\n<p><strong>Frequency Spectrum<\/strong> &#8211; The range of frequencies that humans can hear, which goes from 20Hz to 20,000Hz (20kHz). The lower the number in Hertz, the more bass or low pitched the sound is. The higher the number, the more treble or high pitched the sound is.<\/p>\n\n\n\n<p><strong>Headroom <\/strong>&#8211; A technical specification that describes how loud a signal can get above standard operating levels for a specific piece of equipment. While some classic Neve preamps can have close to 30dBu headroom (dBu is a measure of signal in volts), some Behringer preamps will only give you +10dBu.<\/p>\n\n\n\n<p><strong>Phantom Power<\/strong> &#8211; A feature included in most mixing consoles, preamps, and interfaces (with preamps) that provides +48v (Volts) to the microphone alongside the signal. It&#8217;s a way to power mics without the use of an external power supply or power cables. Some older and modified mics might not be compatible with phantom power, so always check before turning it on.<\/p>\n\n\n\n<p><strong>Phase <\/strong>&#8211; When two nearly identical signals combine, any timing difference between the two signals can have deep, adverse effects on the resulting (combined) sound. The effect can drastically change the frequency response of the original signals, canceling or boosting one or more frequencies on the original signal. When talking about phase issues between two or more mics, the lower frequencies are usually the most problematic due to the distance between microphones.<\/p>\n\n\n\n<p><strong>Proximity Effect<\/strong> &#8211; With some microphones, the closer you move it toward the sound source, the more low end (bass) you\u2019ll get. This can be either problematic or a tool for sound shaping. When recording snare drums, your snare might be too boomy and clash with the bass guitar, kick drum, or even vocals. On the other hand, if the toms are thin and high pitched but you want a bigger sound, getting the microphone closer can give you the boom that you didn\u2019t hear at first listen.<\/p>\n\n\n\n<p><strong>Spot Mic<\/strong> &#8211; A microphone that\u2019s placed very close to the rim of a drum shell or cymbal near the point of impact. The sole purpose of these mics is to capture the sound more accurately with minimal sound coming from the rest of the room.<\/p>\n\n\n\n<p><strong>Tail<\/strong> &#8211; A colloquial term used to describe the release portion of a sound. Every sound has 4 stages of dynamic: ADSR (Attack, Decay, Sustain and Release) and when we hit a cymbal or a drum, we have a very fast and loud attack, followed by a very small amount of decay, no sustain (we can\u2019t keep the drum ringing), and a release that will be characteristic of the drum shell\/tuning or the cymbal size, shape and weight. When we want to capture the \u201ctails\u201d of the drum sound, we usually mean how that release rings out throughout the room until it dies. This term is also commonly used for reverbs.<\/p>\n\n\n\n<p><strong>Transient <\/strong>&#8211; A high amplitude and short duration sound. In music, sounds typically start with a transient and then decay or sustain (like a hammer hitting a piano string). A drum\u2019s waveform is almost exclusively a transient pulse that dies off really quickly.<\/p>\n\n\n\n<p><strong>Transducer &#8211; <\/strong>A device that turns energy from one form into another. Acoustic energy &#8211; like the sound waves traveling through the air after a drum is struck &#8211; can be converted into electric signals (voltage) by a microphone. While most people consider the microphone as a whole to be a transducer, it\u2019s really the diaphragm. The type of transfer mechanism is what differentiates dynamic, condenser, and ribbon microphones. For dynamic mics, a layer of mylar attached to a moving coil acts as a transducer, and for condenser mics, a super thin, electrically charged plate hovering over a back plate works as a transducer. A ribbon mic uses a thin strip of aluminum suspended between two magnets.<\/p>\n\n\n\n<p><strong>XLR Cable<\/strong> &#8211; A popular type of connector that carries balanced audio signals from microphone level to line level. In microphone applications, the cable carries the signal, an inverted copy of the signal, and a reference ground often used as a shield to protect the signal from any interference.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The most thorough guide to buying drum mics &#8211; for any budget!<\/p>\n","protected":false},"author":162,"featured_media":28297,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[4020],"tags":[3725],"_links":{"self":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/28053"}],"collection":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/users\/162"}],"replies":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/comments?post=28053"}],"version-history":[{"count":60,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/28053\/revisions"}],"predecessor-version":[{"id":46124,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/posts\/28053\/revisions\/46124"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/media\/28297"}],"wp:attachment":[{"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/media?parent=28053"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/categories?post=28053"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.drumeo.com\/beat\/wp-json\/wp\/v2\/tags?post=28053"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}