Just like a cookie-cutter trap set won’t hold your tune, a one-size-fits-all microphone setup won’t always fit your kit. A lot of pieces? A leaner set? There’s always a mic combo that suits your sticks.
Shure drum and percussion microphones cover every shell and cymbal smarter. For a beginner or a touring professional, in the studio or at the show, we’ve got the options to help you customize the coverage to your kit.
Here’s our tips for the right drum microphones:
Polar Pattern:
For all parts of a drum kit, the cardioid and supercardioid polar patterns are best at isolating the sound and controlling feedback.
Frequency Response:
For kick drum and snare and floor toms, mics with a shaped frequency response are best. They capture low frequencies and add punch to the kick drum. They also feature extreme high- and low-end frequency rolloff and a boosted mid-range that are ideal for use with the snare and floor toms. Overhead cymbals and hi hats benefit more from mics with a wide and uniform response typically referred to as a flat frequency response.
Cartridge Type:
Dynamic mics are usually recommended for kick drums and snares because they can handle the high sound pressure levels, but condenser microphones can deliver more snap. You just have to make sure to choose a condenser that can withstand the high SPLs. Likewise, floor toms are usually miked with dynamics, but Shure makes a condenser mic specifically for that application: the BETA®98A D/C. Condenser mics are best for overheads and hi hats.
Tips:
Because they don't require a mount, boundary microphones like the BETA®91A are an easy way to mic kick drums and provide a nice round sound. Just place the mic on a pillow inside the drum. Alternatively, you can mount a stand-mounted kick drum mic inside the drum or through a hole in the front. For toms, placing one cardioid mic between them can effectively mic the pair.
