What are the best microphones for drums?
We will discuss this in detail in this article, but let’s be clear from the start: there are a huge number of microphones that can be used for recording this instrument.
Really.
I think this is related to the fact that recording drums is a relatively complex procedure, as it generally involves a large number of microphones and a drum kit is, in reality, a set of percussion instruments.
Moreover, just as each kick drum, snare drum, and cymbal has its own character, the same goes for microphones — and sound engineers! 😉
However, some microphone models tend to stand out because they work well most of the time, and on most kits.
Thus, through this article, I propose a selection of the best microphones for drums, which have proven themselves but also whose price remains, with a few exceptions, relatively accessible in a home studio context.
(Well, it is true that recording drums can quickly cost more than recording a voice — simply because multiple microphones are used…)
Here is the summary of this article:
- How to choose microphones for drums?
- The best microphones for the kick drum
- The best microphones for the snare drum
- The best overhead microphones
- The best microphones for toms
- The best microphones for hi-hat
- And what about drum microphone kits?
How to choose microphones for a drum kit?
Where for some instruments, the type of microphone is a strong criterion for making a choice, for drums you can use dynamic microphones, condenser microphones, or ribbon microphones.
However, especially depending on which element of the drum kit you want to record, it is important to pay attention to various factors.
First of all, when purchasing a microphone, it is interesting to look at the value of SPL Max, which corresponds to the maximum level a microphone can withstand before producing audible distortion.
As drums are an instrument that often produces very loud sounds, it is important to avoid microphones with a SPL level that is too low — especially if you want to position them very close to the instrument.
Moreover, regardless of this numerical value of SPL Max, avoid using fragile microphones in risky areas.
Typically, avoid positioning a ribbon microphone directly in front of the bass drum; this could damage it. In a more distant position, however, there are usually no issues.
Next, to choose the set of microphones you will use on your drum kit, you should of course ask yourself about the sound. Do you prefer:
- a modern sound, or a vintage sound?
- a rather soft sound, or a punchy sound?
- a very realistic sound, or a more colored sound?
- etc.
By asking yourself these kinds of questions in advance, and taking into account the basic sound of your kit, it will help you make the right choice of microphones and select their directivity.
And by the way, how many microphones do you need?
I will write a detailed article on the subject in a while that will give you all the elements to know.
However, while the number of microphones depends on the style of music as well as the acoustics of the room, you often find at least:
- one mic on the bass drum;
- one mic on the snare;
- two overhead mics, that is, above the drum kit.
In addition to this, you can also add more distant “Room” mics, mics on the toms, a mic on the hi-hat… etc.
With that, let’s move on to my selection of the best microphones for drums.
The best microphones for the bass drum
1. AKG D12 VR
Brand: AKG
Type: Dynamic
Directivity: Cardioid
Max SPL: 164 dB SPL
The D12 VR, a descendant of the old D12s that are no longer produced, is quite a special microphone that makes perfect sense when the production involves highlighting a kick drum.
Designed specifically for recording kick drums, the sound is thick and round, rather dark, but at the same time quite smooth — which will suit well if you are looking for a slightly old-school color, or at least not too clean.
Particularly interesting, the D12 VR can be used in two different ways:
- either passively, without power;
- or actively via phantom power. In this case, the output level decreases by 10 dB but three equalization curves can be activated to adjust the microphone’s behavior according to the kick drum sound.
Very handy!
► See the current price of the AKG D12 VR at: Thomann Woodbrass Amazon
2. AKG D112
Brand: AKG
Type: Dynamic
Directivity: Cardioid
Max SPL: > 160 dB SPL
Once again a microphone from AKG, easily recognizable because of the green ring at the front.
The sound is very different from the D12 VR, though: here, we find well-defined upper mids but especially a sound that is a bit more “scooped” as the English speakers say — meaning that the mids/lower mids are somewhat recessed compared to the other frequencies.
The D112 was also designed specifically for recording kick drums, with clearly the intention of providing a generic, fairly standard sound. In other words, it is a microphone with a good amount of punch, easy to integrate into the mix — but which will not be very original.
► See the current price of the AKG D112 at: Thomann Woodbrass Amazon
3. Sennheiser E602-II
Brand: Sennheiser
Type: Dynamic
Polar Pattern: Cardioid
Max SPL: not confirmed by the manufacturer (but no worries, the microphone can handle high volume levels)
The Sennheiser E602-II is also among the best microphones for kick drum recording.
Thanks to two frequency boosts around 60 Hz and around 5/10 kHz, this mic delivers a lot of punch and power, while allowing the sharp attack of the beater on the drumhead to stand out.
The result is a very “scooped” sound, with mids pushed back, which is not a problem in itself but gives a rather modern sound with deep bass.
A very good choice, therefore, for your kick — but it can also be used, for example, on bass guitar cabinets or certain brass instruments.
► See the current price of the Sennheiser E602-II at: Thomann Woodbrass Amazon
4. Audix D6
Brand: Audix
Type: Dynamic
Polar Pattern: Cardioid
Max SPL: ⩾ 144 dB SPL
The fourth and final suggestion in this article for a kick drum microphone is the small D6 from Audix.
Compact and lightweight, it delivers a fairly sharp sound and highlights the “click click click” of the beater, making it a microphone particularly suited for modern sounds — I’m thinking especially of rock and metal.
It is therefore very effective but may not adapt to all musical styles and all drum kits.
However, if you use it, keep in mind that it is very sensitive to positioning, which means you can achieve a very high-quality kick drum sound from the D6 if you take the time to place the microphone correctly.
► See the current price of the Audix D6 at: Thomann Woodbrass Amazon
The best microphones for snare drum
Many microphones can be used for snare drum, but here are three of the most well-known and widely used.
1. Shure SM57
Brand: Shure
Type: Dynamic
Polar Pattern: Cardioid
Max SPL: not confirmed by the manufacturer (but no worries, the microphone can handle high volume levels)
When it comes to miking a snare drum, the Shure SM57 (cousin of the SM58) is undoubtedly the absolute reference.
It is literally a must-have for studio recording, but it really shines for snare drum recording as it provides a solid, consistent sound and generally captures the instrument’s tone in an interesting way for mixing.
In particular, I find it very suitable for rock music, as it has a nice “lo-fi” quality that adds some density and body to the instrument.
Finally, it is worth noting that it is a very sturdy microphone — it won’t flinch if it occasionally takes a hit from a drumstick.
► See the current price of the Shure SM57 at: Thomann Woodbrass Amazon
2. Audix i5
Brand: Audix
Type: Dynamic
Polar Pattern: Cardioid
Max SPL: ⩾ 140 dB SPL
The Audix i5 is an interesting alternative to the SM57, also available at an affordable price just below a hundred euros.
The microphone’s attitude is quite similar to that of the Shure, but with a few particularities:
- the sound is a bit brighter, a bit more modern;
- it is also “scooped”, with recessed mids which will likely facilitate mixing;
- it tends to better reject lateral sounds, which will limit bleed from other elements of the drum kit into the snare microphone.
Finally, like the SM57, this is a very sturdy microphone, allowing you to place it safely above your snare drum.
► See the current price of the Audix i5 at: Thomann Woodbrass Amazon
3. Beyerdynamic M 201 TG
Brand: Beyerdynamic
Type: Dynamic
Polar Pattern: Hypercardioid
Max SPL: not confirmed by the manufacturer (but no worries, the microphone can handle high volume levels)
Made in Germany, the M 201 from Beyerdynamic is my third microphone suggestion for snare, and a very common choice in the studio for this application.
The sound is darker than the i5, but especially with smoother highs and a bit more body, which makes the microphone less dull in the end. It captures well, particularly the crack of the snare in the upper part of the frequency spectrum.
Due to its hypercardioid pattern, it also tends to reduce the amount of bleed from elements located on the sides — so take the time to position it well to maximize the quality of your recordings.
► See the current price of the Beyerdynamic M 201 TG on: Thomann Woodbrass Amazon
The best overhead microphones
Many microphones can be used as overheads, above the drums.
If you don’t have a huge budget, you can opt for a pair of classic static microphones, which generally work quite well.
That said, especially to avoid overly aggressive highs due to cymbals, I recommend, if possible, selecting microphones that have specifically proven themselves as overheads.
1. Oktava MK-012
Brand: Oktava
Type: Small diaphragm condenser
Polar Pattern: Cardioid (but hypercardioid and omnidirectional capsules are available as options or in certain packs)
Max SPL: 140 dB SPL (with the included -10 dB pad)
Without hesitation, the MK012 are my favorites from this list of overhead microphones due to their impressive quality/price ratio.
Made in Russia (beware of counterfeits from China), these mics indeed offer a good level of detail, with an articulated and natural sound — in short, quite balanced with good bass reproduction.
By default, I recommend using the cardioid capsule, but you can of course also test the hypercardioid and omni capsules that are also available.
Note the presence of a -10 dB pad that can be added to the microphone, which will undoubtedly be interesting for drum recording.
► See the current price of the Oktava MK-012 (matched pairs) on: Thomann Woodbrass
2. Audio-Technica ATM450
Brand: Audio-Technica
Type: Small diaphragm condenser
Polar pattern: Cardioid
Max SPL: 152 dB SPL (162 dB SPL with -10 dB pad)
The Audio-Technica ATM450s are perhaps a slightly lesser-known but excellent choice for recording drums in overhead positions.
Indeed, despite their relatively affordable price, they provide a balanced, open, clear, and realistic sound — with cymbals that stand out well without ever having the aggressive edge one might expect in this price range. The lows are present but not overly emphasized.
If your goal in placing overhead mics is to capture the drum kit in a truly holistic way, a pair of ATM450s should allow you to achieve your goal easily.
In short, microphones with a great price-to-performance ratio.
► See the current price of the Audio-Technica ATM450 on: Thomann Amazon
3. Beyerdynamic M160
Brand: Beyerdynamic
Type: Double Ribbon
Polar pattern: Hypercardioid
Max SPL: not confirmed by the manufacturer
The Beyerdynamic M160 is necessarily a bit more expensive since it is a ribbon microphone.
In overhead pairs above a drum kit, it offers a very high-quality sound, dark but with punch.
It has a somewhat “lo-fi” quality in a way, even though it captures a lot of detail — which also makes it an interesting choice for more distant use from the kit in a “mono room” type setup.
Moreover, its hypercardioid pattern (rare for a ribbon microphone) makes it quite insensitive to the room acoustics, which can be very practical in a home studio context where our recording space is not always perfect.
► See the current price of the Beyerdynamic M160 on: Thomann Woodbrass Amazon
4. Coles 4038
Brand: Coles
Type: Ribbon
Directivity: Figure-8
Max SPL: 125 dB SPL
I hesitated a lot before adding the Coles 4038 to this list, as they are very expensive and clearly exceed the budget of most home studios.
But what a sound!
These are ribbon microphones, with figure-8 directivity, that are very commonly used in the studio for overhead drum recordings or in a more distant “room” position.
Their sound is dark and smooth, very musical with excellent bass reproduction — but above all, they bring a certain density to the drum mix that is not found with other microphones.
In short, a real investment of course, but if you can afford it, you won’t regret it… 😉
► See the current price of the Coles 4038 (matched pair) at: Thomann
The best microphones for toms
For toms, you can of course position SM57s or something like that, but some microphones will allow you to achieve much higher quality results more easily.
1. Sennheiser MD421-II
Brand: Sennheiser
Type: Dynamic
Directivity: Cardioid
Max SPL: not confirmed by the manufacturer
When it comes to tom sound capture, the Sennheiser MD421s are truly a reference.
Sure, you can opt for vintage used models, but the new MD421-IIs are also very good and handle high volume levels without any problem.
The sound is powerful and full: these microphones perfectly capture what is expected from toms, and generally require very little EQ to stand out correctly in the mix.
And while they do have a pronounced proximity effect like all dynamic microphones, the presence of a filter to cut the lows with 5 possible positions will help mitigate this effect right from the recording.
► See the current price of the Sennheiser MD421-II at: Thomann Woodbrass Amazon
2. Audio-Technica ATM230
Brand: Audio-Technica
Type: Dynamic
Polar Pattern: Hypercardioid
Max SPL: not confirmed by the manufacturer
Another interesting option for capturing the sound of toms in a drum kit: the ATM320 from Audio-Technica, which are quite similar to the old ATM25 that unfortunately is no longer in production.
Indeed, specifically designed for drum recording, these have good presence and a solid low-end response.
Moreover, likely due to their hypercardioid pattern, the ATM230 exhibits minimal bleed from other instruments (as long as they are properly positioned, of course), making them easy to handle.
► See the current price of the ATM230 at: Thomann Amazon
The best microphones for hi-hat
It is not absolutely necessary to place a microphone on the hi-hat. Often, overhead mics are more than sufficient.
However, if you are looking for a mic for your hi-hat, here are two particularly effective microphone suggestions.
1. Beyerdynamic M 201 TG
Brand: Beyerdynamic
Type: Dynamic
Polar Pattern: Hypercardioid
Max SPL: not confirmed by the manufacturer (but no worries, the microphone can handle high volume levels)
Once again, we find the M 201 TG mentioned earlier for snare drums.
On your hi-hat, it will provide an interesting sound, with body and highs that are soft enough for the recording to be usable during mixing.
► See the current price of the Beyerdynamic M 201 TG at: Thomann Woodbrass Amazon
2. Shure SM81
Brand: Shure
Type: Dynamic
Directivity: Cardioid
Max SPL: 131 dB SPL
Another commonly used option in the studio: the SM81 from Shure.
This one offers a fairly dense sound, with a lot of body and cohesion — while providing a good level of detail.
It is also capable of capturing sound with great precision, which means that by taking the time to position it, you can minimize bleed from other instruments.
► See the current price of the Shure SM81 on: Thomann Woodbrass Amazon
And what about drum microphone kits?
It’s true after all — there are these “ready-made” drum microphone kits… why not take that to save a bit of budget and avoid having to select different mics for each application?
The question is legitimate, and it is true that if your budget is very limited, these kinds of packs will allow you to start recording your drums at a lower cost.
However, by default, I do not recommend these microphone kits too much because they are often too geared towards “beginners” — which means they do not contain perfect mics but rather a series of decent mics.
That said, if I had to recommend a particular drum microphone pack, I would suggest taking a look at the FP7 from Audix, which is quite effective at the entry level.
► See the current price of the Audix FP7 on: Thomann Amazon
Another higher-end option from the same brand would be the DP7 pack, which contains some of the microphones mentioned in this article.
► See the current price of the Audix DP7 on: Thomann Woodbrass Amazon
In conclusion
There you go, you now have all the information to choose your next drum microphones, whether you are looking for a warm and vintage sound or a precise and modern one.
► Continue reading with my complete guide on recording drums.