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There are infinite ways to record a drum kit, and every microphone you plug in is a creative choice. Do you put a mic on every drum and cymbal or go with a minimalist three-mic setup? Do you stick a dynamic mic inside the kick drum or capture it with a ribbon mic from a foot away? Do you add a mic under the snare? Room mics or no room mics? The possibilities are endless, but some microphones are better than others for kick, snare, toms, or cymbals. Here are some of the best microphones for recording drums and how to use them.
Best Overhead Microphones for Recording Drums
Conventional studio workflow dictates starting with the bass drum, then the snare, toms, and cymbals. But today, we’re going to flip the script and start with the mics that have the greatest impact on your drum sound: the overheads. Overhead microphones capture a complete picture of the kit, roughly from the drummer’s perspective, so getting a good tonal balance starts here. You can always add spot mics, but if your overheads don’t sound right, you’ll be fighting an uphill battle in the mix.
Common Types of Overhead Microphones
Small-diaphragm condensers for overheads
So-called “pencil” microphones like the Neumann KM 184 or the Shure SM81 are a common go-to for overheads because their lightweight diaphragms are extra sensitive to transients, producing sharp, detailed drum recordings. If you want to hear maximum stick attack and emphasize the punch of the groove, you can’t go wrong with a good pair of SDCs.
Large-diaphragm condensers for overheads
Many a drum kit has been recorded with a pair of large-diaphragm condenser (LDC) mics like the Telefunken U47 or Neumann U 47 FET, one of the many modern recreations like the FLEA Microphones FLEA47, or other all-purpose LDCs like the AKG C414. Contrary to internet rumor, a bigger diaphragm doesn’t mean more bass, but it does have other benefits. LDCs are popular for vocals because they gently soften transients, and that can be an advantage in drum sessions where you don’t want excessive stick attack (or if the drummer is a little aggressive with the hi-hats).
Ribbon microphones for overheads
When you want a smoother, warmer drum sound, ribbon mics like the Coles 4038, Beyerdynamic M 160, and AEA R84 make fantastic overheads. Ribbons tend to be a bit less sensitive than condensers, especially in the treble range, which makes them ideal for taming bright cymbals and harsh room acoustics. Most ribbon mics have a bidirectional (figure-eight) polar pattern that makes them perfect for Blumlein and Mid-Side setups, but you can also use a stereo ribbon mic such as the AEA R88 Mk2.
Overhead Mic Techniques to Try
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Spaced pair: A matched pair of cardioid or omnidirectional mics placed on each side of the kit at equal distances from the snare to prevent phase cancellation. The Glyn Johns method is a popular variation for recording a kit with just two mics (sometimes with an optional kick mic).
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X/Y: A matched pair of cardioid mics placed with their tips together at an angle between 45-120°. This technique prevents phase issues because sound arrives at both mics simultaneously. The Blumlein technique is a variation using two bidirectional microphones.
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Mid-side: One cardioid or omnidirectional mic centered above the kit (the mid mic), with a bidirectional mic placed as close as possible and oriented toward the left and right sides of the kit (the side mic). Use a mid-side decoder or manually duplicate the side channel, phase-invert it, and pan the copies left and right. The signals will combine with the mid mic to provide a stereo picture that’s mono-compatible.
Popular Overhead Mics
- Telefunken U47
- Neumann U47 FET / U67 / U87
- AKG C 414 XLS
- Telefunken ELA M 251
- Soyuz 013 FET
- Schoeps CMC 641
- Earthworks SR25 Gen 2
- Sanken CO-100K
- Schoeps CMC 64
- AKG C12 VR
- Gefell UMT 70S FET
- Coles 4038
- Beyerdynamic M 160
- AEA R84 / R88
- Warm Audio WA-19
- Warm Audio WA-44
- Wildcard: Shure SM57 (everyone should try it once)
Best Room Mics for Recording Drums
If you’re tracking drums without other instruments in the room, room mics are almost essential. Placing a mono mic or stereo pair across the room from a drum kit gives you an entirely different picture of the instrument, situating it within the room’s acoustics for a more natural sound. Angling your room mics toward the walls, placing them around a corner, or heavily compressing them can yield even more interesting sounds.
Common Types of Room Microphones
Condenser microphones
Most engineers choose large- or small-diaphragm condensers for room ambience because they’ll pick up the softest reverb tails and you don’t usually have to worry about clipping from loud hits. Multipattern condensers like the Telefunken ELA M 251E, Neumann M 50 V (of Decca Tree fame), and AKG C12 (with a whopping nine polar patterns!) give you the most flexibility for trying out different setups.
Ribbon microphones
Ribbons make great room mics, particularly when paired with a brighter set of overheads. A matched pair of ribbon mics like the Royer Labs R-121 and Warm Audio WA-44 will minimize cymbal wash in reflective rooms while enhancing the fullness of the kick, snare, and toms. Take advantage of their figure-eight polar pattern to reduce bleed from other instruments in the room or point the null at reflective surfaces such as the control room window.
Room Mic Techniques to Try
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Spaced Pair: A matched pair of room mics placed at a distance from the kit and spaced apart. Provides a wide stereo image with fewer phase issues than spaced overheads. Works with omni, cardioid, bidirectional, or boundary mics.
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Coincident Pair: Any coincident technique where the microphones are close together (such as X/Y, Mid-Side, or Blumlein) will provide a stereo room sound with good mono compatibility. Best for avoiding phase cancellation when other instruments are in the room.
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Distant: Place a mono room mic or stereo pair somewhere out of sight of the kit, such as around a corner or in a different room. This technique maximizes reflected sound and minimizes direct sound for pure ambience capture. Add heavy compression for a “crushed” effect you can blend in with your main drum mics.
Popular Room Mics
- Telefunken U47
- Neumann U47 FET / U67 / U87
- Telefunken ELA M 251E
- Neumann M 50 V / M 49 V
- Wunder Audio CM50 S
- Gefell UMT 70S FET
- Soyuz 017 TUBE
- AKG C12 VR
- Coles 4038
- AEA R84 / R88
- Warm Audio WA-44
- Wildcard: Zeppelin Design Labs Cortado MkIII Contact Microphone (on the control room window, a spare bass drum, or other resonating surface)
Best Kick Drum Mics For Recording Drums
Now, on to the drums themselves. The bass drum is often the first to get mic’d up in a session because it’s so essential to the punch and power of the drum track. Depending on whether the drum has a front head or not, whether that head has a hole, and what type of sound you want, you can use one or more mics placed inside or outside of the drum, on the front or back, and so on.
Common Types of Kick Drum Microphones
Dynamic microphones for kick drums
Dynamics are the go-to for kick drum recording because they tend to tolerate high sound pressure levels (SPLs) and they’re sturdy enough to take a beating. And because they’re almost always cardioid or supercardioid, bleed from the other drums and cymbals is almost a non-issue. Dedicated dynamic bass drum mics include the AKG D12 VR, Shure Beta 52A, Audix D6, and Solomon LoFReQ Sub Microphone.
Condenser microphones for kick drums
Before specialized kick drum mics were common, large-diaphragm condensers like the Telefunken U47 and Neumann U67 were common for jazz, big band, soul, and early rock music. They’re typically too sensitive to be used inside the drum, but from a foot (or six) away, they can be great for capturing a detailed kick sound with a touch of room ambience.
Ribbon microphones for kick drums
Ribbon mics provide a good middle ground between the sensitivity and detail of condensers and the isolation and high SPL handling of dynamics. Try a bidirectional ribbon like the Royer R-121 in a good-sounding room or try the hypercardioid Beyerdynamic M 160 for more punch.
Boundary microphones
Often placed directly inside the kick drum, boundary mics like the Shure BETA 91 and Sennheiser e901 produce a roughly hemispherical or half-cardioid pickup pattern that’s ideal for capturing the thump and snap of a kick drum. Pressure-zone microphones like the AKG PZM30D are a subcategory of boundary mics with a small space between the capsule and the boundary layer for true hemispherical coverage.
Kick Drum Mic Techniques to Try
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Outside: Place a dynamic or condenser mic in front of the resonant (front) head. If the head has a hole, use a dynamic mic or place a condenser away from the hole. If the drum has no resonant head, try placing a pillow inside to dampen the sound of the beater.
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Inside: If the drum doesn’t have a full resonant head, you can stick a mic inside to get closer to the beater. Can be used on its own or combined with an outer mic and balanced in the mix.
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Beater: Miking the batter head (the one the beater hits) gives you a completely different sound with more “snap” and less “thump.” This can be great for metal and rock music (especially with double bass drums), but it usually needs help from a front mic to fill out the sound.
Popular Kick Drum Mics
- AKG D12 VR
- Shure Beta 52A
- Electro-Voice RE20
- Lauten Audio Kick Mic
- Audix D6
- Telefunken U47
- Neumann U47 FET / U67
- Royer R-121
- Solomon LoFReQ Sub Microphone
- Shure BETA 91A Boundary Microphone
- Sennheiser e901
- AKG PZM30D
- Wildcard: AKG C 414 (placed inside the kick in figure-8 mode, just like Steve Albini used to do!)
Best Snare Mics For Recording Drums
Miking a snare drum is an art unto itself, and some of the greatest drum tones ever recorded are defined by their snare sound. Variables like the player, the genre, and the drum itself can have a big influence on what works or doesn’t work. Start with a single mic on the top and add another under the snares or on the side of the shell to give yourself more options in the mix.
Common Types of Snare Microphones
Dynamic microphones for snare drums
Just like with kick drums, dynamic mics are the go-to for snare because they can handle high SPLs and survive the occasional stick hit. The trusty Shure SM57 is an all-time classic, and right-angle versions like the Granelli G5790 make placement easier in a crowded kit. The supercardioid Sennheiser e609 provides great isolation from hi-hats, and the clip-on e604 is ideal for live sound.
Small-diaphragm condensers for snare drums
Condenser mics offer more sensitivity and detail than dynamics, especially in mellower genres like jazz and folk music. Side-address condensers like the Josephson e22S work great in tight spaces, while pencil-style SDCs such as the Neumann KM 184 and Shure KSM141 can be used under the snare to augment a dynamic top mic.
Snare Mic Techniques to Try
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Top only: The default; one mic on the top head of the drum, placed near the rim so it’s out of the drummer’s way. Experiment with the angle to vary the amount of stick attack, or use a supercardioid mic if you’re getting too much hi-hat bleed.
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Top + bottom: Adding a bottom mic lets you balance the tone of the snares with the stick attack from the top mic. Make sure to invert the phase so it doesn’t cancel out the top mic, and try tightening or loosening the snares for the right amount of buzz.
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Side: Miking the side of the shell gives you a balanced tone without too much stick attack or snare buzz, and it’s a great way to capture the resonance of deep, wooden snare drums or the “boing” of certain metal snares. Can be used with or without a top or bottom mic.
Popular Snare Mics
- Shure SM57
- Granelli G5790
- Sennheiser e609
- Sennheiser e604
- Lauten Audio Snare Mic
- Sennheiser MD 421 II
- Sennheiser MD 441-U
- Shure SM81
- Shure KSM141
- Neumann KM 184
- Warm Audio WA-19
- Audix i5
- Josephson e22S
- Telefunken M80
- Soyuz 013 FET
- Schoeps CMC 641
- Beyerdynamic M 201
- Audio-Technica AT4041
- Wildcard: Sanken CO-100K (sample your snare with this ultrasonic mic and pitch it down without artifacts)
Best Tom-Toms Mics For Recording Drums
Toms don’t get hit as much as kicks, snares, and cymbals, but that doesn’t mean they deserve any less thought in the session. From thundering AC/DC-style floor toms to jazzy fills played with brushes, the way you mic your toms can have a huge impact on the feel of the drum track.
Common Types of Tom-Tom Microphones
Dynamic microphones for tom-toms
Once again, dynamics are the most popular choice for toms because they can handle the heaviest hitters while providing good isolation from the rest of the kit. The Sennheiser MD 421 is a favorite of many engineers, while low-profile supercardioids like the Sennheiser e609 provide better isolation and stay out of the way of nearby cymbals.
Condenser microphones for tom-toms
Condensers can be a viable choice for toms when the music calls for a little more detail (especially when there aren’t any amps in the room). Side-address condensers like the Josephson e22S and Lauten Audio tom Mic provide great definition without taking up too much space. Try them alone or as bottom mics complementing dynamics on the top.
Tom Mic Techniques to Try
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Top only: One mic on the top head, positioned so it won’t be hit by sticks or cymbals. Be sure to tune the drum and experiment with placement to get the right blend of resonance and attack.
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Top + bottom: If the toms have bottom heads, a bottom mic will capture the resonance without the stick attack. If they don’t have bottom heads (concert toms), miking from below can deliver a blend of resonance and attack with much less cymbal bleed.
Popular Tom Mics
- Sennheiser MD 421 II
- Sennheiser MD 421 Kompakt
- Sennheiser MD 441-U
- Electro-Voice RE20
- Sennheiser e604
- Josephson e22S
- Lauten Audio Tom Mic
- Wildcard: Solomon LoFReQ Sub Microphone (under the floor tom)
Best Hi-Hat and Cymbal Mics For Recording Drums
Not every session calls for a mic on the hi-hat, crash, or ride cymbals, but they can be useful in certain situations. For groove-based genres like funk and jazz fusion, a mic on the hi-hat or ride cymbal can be a vital tool for keeping the rhythm centered in the mix, while spot miking all the cymbals can give you more options in the mix.
Common Types of Hi-Hat and Cymbal Microphones
Condenser microphones for hi-hat and cymbals
Any mic you’d use for overheads can be a cymbal mic, and that usually means a condenser. Versatile microphones with multiple polar patterns, high-pass filters, and pads (like the AKG C451 or AKG C 414 XLS) are ideal for making sure the mic only picks up the cymbal it’s pointed at. If you want to emphasize stick attack, go for an SDC. Otherwise, an LDC works great, too.
Ribbon microphones for hi-hat and cymbals
Cymbals can easily start sounding harsh when mic’d up close, but a ribbon microphone can soften the brightness just enough to blend into the mix without EQ. If isolation is the goal, you’ll want to use a hypercardioid ribbon like the Beyerdynamic M 160.
Hi-Hat and Cymbal Mic Techniques to Try
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Top of hi-hats: Miking the top of the hats gives you good definition and stick attack, but sensitive mics can be vulnerable to snare and cymbal bleed. Try gating the track for a sharp, clean attack.
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Bottom of hi-hats: Miking hi-hats from the bottom will minimize stick attack and bleed from other cymbals. If kick bleed becomes a problem, use a mic with a high-pass filter.
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Spot mics on cymbals: If you want more flexibility than a pair of overheads, try miking the cymbals individually. Mic them all if you have enough channels, or focus on one element such as the bell of a ride cymbal.
