Top 5 Best Drum Microphone Kit for Recording at Home
Are you ready to take your drum recordings to the next level? Did you know that using the right microphone kit can improve your drum sound by up to 70%? In this guide, we’ll explore the cream of the crop to find the best drum microphone kit. Whether you’re a seasoned pro or just starting out, we’ll check out a range of options. Let’s embark on this sonic journey together and find the perfect mic kit to make your drums sing!
Understanding Drum Microphone Kits
So, what exactly is a drum microphone kit? Well, it’s basically a carefully curated collection of microphones specifically designed to capture the various elements of a drum kit. You’ve got all the tools you need in one neat package.
You’ll usually find:
- A kick drum mic
- One or two snare drum mics
- A few tom mics (usually 2-3, depending on your setup)
- A pair of overhead mics for cymbals and overall kit sound
- Sometimes a hi-hat mic
Some fancier kits might throw in extra goodies like clips, cables, or even a carrying case. But these are the basics you’ll need to get started.
The mics in a kit are designed to work together harmoniously. It’s like a well-oiled machine – each part complements the others to create a balanced, full-bodied sound.
Plus, buying a kit can save you a ton of cash, compared to buying each mic separately.
But here’s the kicker (pun intended): consistency. When you’re recording drums, you want each component to sound balanced in relation to the others. A good drum mic kit ensures that your kick isn’t overpowering your snare, or your toms aren’t getting lost in the mix.
Now, what should you look for when choosing a drum mic kit?
- Quality: Don’t skimp here. Better mics = better sound, and will last longer. Period.
- Versatility: Look for kits that can handle various musical styles. You never know when your metal band might decide to go acoustic!
- Durability: Drums can get loud, and cheap mics might not handle high SPLs (sound pressure levels) well.
- Ease of use: Some kits come with helpful extras like mic clips or carrying cases. These can be real lifesavers, especially for gigging musicians.
- Brand reputation: While not always a guarantee, sticking with reputable brands can often lead to better results and customer support.
One thing I wish someone had told me earlier: consider your recording environment. Are you in a treated studio or a reverberant garage? This can affect which type of mics (dynamic vs. condenser) might work best for you. Sometimes, less sensitive mics can actually be better in less-than-ideal recording environments.
Pro Tip: don’t forget about mic placement! Even the best kit in the world won’t sound great if your mics are positioned poorly. Experiment with different placements to find what works best for your particular drum kit and playing style.
Also, don’t be afraid to mix and match. While drum mic kits are great starting points, as you grow more experienced, you might find that swapping out a mic or two can really help you dial in your perfect sound.
Whether you’re a bedroom producer or a gigging musician, understanding these basics can really help you level up your drum recordings. Now go forth and make some noise, and record it!
Top 5 Best Drum Microphone Kits for Professional Studios
Shure PG ALTA 7-Piece Drum Microphone Kit
First up, we’ve got the Shure PG ALTA 7-Piece Drum Microphone Kit. This kit is like that reliable friend who’s always got your back, from one of the most reliable brands in the space. It’s got a nice, punchy kick mic that brings out the thump, and the tom mics are surprisingly good at capturing both attack and resonance.
Sennheiser DRUMKIT 600
Moving on to the Sennheiser DRUMKIT 600. The clarity and detail this mic kit captures is insane. It’s like you can hear every little nuance of the stick hitting the drum head. I particularly like the sound of the tom mics from this set.
AKG Drum Set Session 1 Microphone Set
I used to have an AKG Rhythm Pack of mics a few years ago and the AKG Drum Set Session 1 Microphone Set is the updated version of that. The build quality is excellent, and stands the test of time! The snare mic will also survive the occasional mis-hit from a stray stick, so there’s nothing to worry about there.
Audix DP7 Drum Mic Package
The Audix DP7 Drum Mic Package is next on our list, and this is one of my favorites as they are rugged and ideal for live settings. The Audix D6 kick drum mic is a beast – it captures that chest-thumping low end that really makes a kick drum stand out in the mix, and can also be used to record floor toms and bass cabinets.
The Audix i5 snare mic is more robust than the industry standard (a Shure SM57), as the capsule is more protected. Plus it has a wider frequency response than an SM57 so it gives you a more accurate representation of what the snare drum really sounds like!
Earthworks Audio DK7 2nd Gen 7-Piece Drum Microphone Kit
Last but definitely not least, we’ve got the Earthworks DK7 Mic Kit. This kit is like the Ferrari of drum mic kits – it’s not cheap, but boy, does it perform. The level of detail and realism is jaw-dropping. It’s like you’re standing right next to the kit. Earthworks mics have a flat frequency response, capturing a more natural drum sound.
One thing to keep in mind with the DK7 is that these mics are so sensitive and accurate that they’ll expose any weaknesses in your signal chain. Make sure you’ve got high-quality preamps and converters to really get the most out of this mic kit.
So there you have it – my rundown of the top 5 drum mic kits for pro studios. Each of these mic packs has its own strengths, and the best one for you will depend on your specific needs and budget. I can say with confidence that any of these kits will help you capture some seriously awesome drum sounds. Happy recording!
How to Set Up Your Drum Microphone Kit
First off, when you’re looking for a live performance mic kit, there are a few key features you’ll want to keep an eye out for. Durability is huge – I learned this the hard way when a clumsy stagehand knocked over my entire drum mic setup during soundcheck. Talk about a heart attack! Now, I always make sure my live mics can take a beating.
Another biggie is sensitivity. You want mics that can handle high SPLs (that’s Sound Pressure Levels for the newbies) without distorting. Oh, and don’t forget about feedback rejection! There’s nothing worse than that ear-piercing squeal in the middle of a performance. Look for mics with good off-axis rejection – they’ll be your best friend when you’re fighting feedback on a loud stage.
Now, let’s talk about some top picks for different venue sizes. For medium-sized venues, the Audix DP7 is hard to beat. The overheads in this kit are particularly impressive – they capture the cymbals with amazing clarity, even in less-than-ideal acoustic environments.
Now, let’s talk mic placement. For the kick drum, I like to start with the mic about halfway inside the sound hole, pointed at where the beater hits the head. But don’t be afraid to experiment. Sometimes moving the mic just an inch or two can make a world of difference.
One technique I love is the “kick in, kick out” method. Use one mic inside the kick for attack, and another outside for body. Blend these to taste, and you’ll get a kick sound that’s both punchy and full.
When it comes to snare mics, angle is key. I aim for about 45 degrees, pointing at the area just inside the rim. This captures a nice balance of attack and body. And don’t forget about the bottom snare mic (if you have one) – it’s often overlooked, but it can add a lot of snap to your sound.
I also try to place the snare mic either up the top in the middle of the snare, or off towards the hi-hat. Of all the mics in the kit this one is going to have the highest amount of risk of getting hit with a flying stick, so try to position it as best you can to avoid that!
Tom mics can be tricky. I’ve found that positioning them about an inch or two above the rim, angled down towards the center of the head, usually works well. But again, trust your ears and be willing to adjust. Most mic kits include clips to mount the mics to the rim of the toms (which usually fit triple-flanged and die-cast hoops).
Some drummers believe that mic clips will choke the sound of the toms too much, and would prefer to mount them on separate microphone stands, which is very common in a studio setting.
Pro Tip: You can mount microphones on standard 8mm cymbal stands, with the help of the Gibraltar SC-GMCMA Shock Mount Cymbal Adaptors. I’ve used a bunch of these mounted to my Pearl Icon Rack with short boom arms to reach all of the toms and snare drum, and even for close micing cymbals. Brilliant! (Side Note: All drum brands usually use 8mm threads for their cymbal stand, except Sonor which uses 6mm).
Overhead placement is where a lot of people stumble. For a quick and easy setup, just use one overhead mic in the middle of the kit above the bass or snare drum. But to get a good stereo image you need to use two mics (which are usually condenser microphones with 48V phantom power), positioned in a kind of triangle with the center of the snare drum.
Pro Tip: Be sure to measure the distance between the center of the snare drum up to each of the overhead microphones to make sure it is the same so that the sound of the snare drum will reach each overhead mic at the same time. This helps avoid phase issues.
Always do a proper soundcheck if you can. What sounds good in an empty venue might not work when it’s full of bodies absorbing sound.
Another common mistake is overmiking. More isn’t always better when it comes to drum mics. I’ve seen people try to mic every single piece of the kit, only to end up with a muddy, undefined mess. Sometimes, less is more. Start with the basics (kick, snare, overheads) and add from there if needed.
Oh, and don’t forget about room mics! These can add a ton of depth and character to your drum sound. I like to set up a pair of condenser mics about 6-10 feet away from the kit. You’d be surprised how much these can enhance your overall drum sound.
Want to add some natural-sounding reverb? Open the door and place a microphone down the hallway, so that the sound of the kit takes a little while to reach it. Mixing that in can sound pretty cool!
Lastly, don’t forget about the power of compression. A little bit of compression on individual drums (especially kick and snare) can help even out dynamics and give you a more consistent sound. Just be careful not to overdo it – you still want the drums to breathe.
Remember, these are just starting points. Every drum kit, every venue, and every drummer is different. Don’t be afraid to experiment and trust your ears. With a little practice and patience, you’ll be capturing killer live drum sounds in no time!
Maximizing Your Drum Sound with EQ and Processing
Let’s talk about basic EQ tips for each drum component. The kick drum is the foundation of your drum sound, so it’s crucial to get it right. I usually start by cutting around 300-400 Hz to remove some of that boxy resonance. Then, I’ll boost around 60-80 Hz for that deep, gut-punching thump, and add a little bump around 4-5 kHz for some beater click.
For the snare, I like to start by cutting a bit around 200-300 Hz to clear out some muddiness. Then, I’ll boost around 120-150 Hz for body and 3-5 kHz for snap. Don’t forget about that coveted snare “crack” – a little boost around 8-10 kHz can really make it pop.
Toms can be tricky. I usually cut a bit in the 300-500 Hz range to reduce boxiness, then add a little boost at the fundamental frequency of each tom. This is usually somewhere between 80-180 Hz for floor toms and 120-250 Hz for rack toms. A small boost around 5 kHz can help with attack.
For cymbals and overheads, less is often more. I’ll usually just do a high-pass filter around 100 Hz to get rid of any low-end rumble, and maybe a small cut around 2-3 kHz if they’re sounding a bit harsh.
Now, let’s talk compression. This is where things can get really interesting – or go horribly wrong if you’re not careful! For kick and snare, I usually start with a ratio around 4:1 or 6:1, with a fairly fast attack (5-10ms) and a medium release (50-100ms). The key is to experiment with the threshold to get just the right amount of compression. You want to control the dynamics without squashing the life out of the drum.
Toms usually don’t need as much compression. I’ll often use a gentler ratio, like 2:1 or 3:1, with a slower attack to let the initial transient through. This helps maintain the natural decay of the toms.
Overheads can benefit from a bit of gentle compression to even things out. Try a low ratio like 2:1 with a fairly high threshold, so you’re just catching the peaks.
Now, here’s a cool trick I stumbled upon: try using parallel compression on your drum bus. Send a copy of your drum tracks to an aux channel, compress the living daylights out of it, then blend it back in with your dry signal. It’s like magic – you get all the punch and consistency of heavy compression without losing the natural dynamics of the performance.
Alright, let’s talk about the fun stuff – reverb and effects! This is where you can really get creative and add some character to your drum sound. But remember, with great power comes great responsibility.
For reverb, I like to use a short plate or room reverb on snare and toms. Start with a decay time around 0.8-1.2 seconds and adjust to taste. Be careful not to use too much – you want to add depth, not turn your drums into a wash of sound.
A cool trick for kick drum is to use a very short reverb (like 0.2-0.3 seconds) to add a bit of space without muddying up the low end. Blend it in subtly – it should be felt more than heard.
Don’t be afraid to experiment with other effects too. A touch of chorus on toms can add some interesting width. Flanger or phaser on a room mic can create some trippy, psychedelic vibes. And for electronic or pop productions, don’t shy away from more extreme effects like distortion or bit-crushing.
One of my favorite techniques is to use a transient designer on the snare and kick. This lets you really dial in the attack and sustain independently. It’s great for adding punch without affecting the overall level too much.
Remember, the key to all of this is subtlety and balance. It’s easy to get carried away and end up with a drum sound that’s over-processed and unnatural. Always take breaks to rest your ears, and don’t be afraid to start over if things aren’t working out.
Get other people to listen to your mix too, and listen to it on a variety of different speakers. What works on one set may sound totally different on another set.
Maintaining and Caring for Your Drum Microphone Kit
First things first: cleaning. After every show, I make it a habit to wipe down my mics with a soft, dry cloth. For stubborn dirt, I use a slightly damp cloth, but I’m always super careful not to get any moisture near the capsule.
If the mics came with a decent case, put them back in the case! That case is the best option for storage and transportation.
If they didn’t come with one, you should invest in a decent hard-shell case with foam inserts. Each mic can have its own little compartment, which prevents them from bumping into each other during transport. I also throw in a couple of silica gel packets to keep moisture at bay. It’s worth the extra effort to protect your investment.
Now, let’s talk about troubleshooting. One of the most common issues I’ve run into is weird buzzing or humming sounds. Nine times out of ten, it’s because of a loose connection or a faulty cable, so test with another cable.
For cables, I keep an eye out for any visible wear and tear, especially near the connectors. If they start to feel loose or if you hear any crackling when you move them, it’s time for new ones. I always keep a few spare cables in my kit just in case.
As for the mics themselves, they can last for years with proper care. But if you notice a significant drop in sound quality or if they’re becoming unreliable, it might be time to start shopping for replacements.
Pro Tip: keep a log of your gear’s age and any repairs or issues you’ve had with it. It might seem like overkill, but it’s super helpful for tracking the lifespan of your equipment and anticipating when you might need to replace things.
Remember, your drum microphone kit is an investment in your sound. Treat it well, and it’ll serve you faithfully for years to come.
Whether you’re recording in a pro studio, gigging at local venues, or laying down tracks in your garage, there’s a perfect mic kit out there for you. So go ahead, choose your weapon, and let’s make some noise!
Drum kits come in many different forms and variations. Check out these articles for help on choosing a drum kit, the best drum sets for beginners, and the best electronic kits if you need to keep the noise down.
