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.
And then, if 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.
Also, 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 kick drums
- The best microphones for snare drums
- The best overhead microphones
- The best microphones for toms
- The best microphones for hi-hats
- And what about drum microphone kits?
How to choose microphones for drums?
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 the element of the drum kit you want to record, it is important to pay attention to different things.
First of all, when you buy 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.
Since drums are an instrument that often produces very loud sounds, it is important to avoid microphones with too low an SPL level — especially if you want to position them very close to the instrument.
Moreover, regardless of this numerical value that is the SPL Max, avoid using fragile microphones in risky areas.
Typically, avoid positioning a ribbon microphone right in front of the kick drum; it 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 drums, you must, of course, consider the sound. Do you prefer:
- a modern sound, or a vintage sound?
- a softer 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 some time 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 to say above the drum kit.
In addition, you can add room mics that are more distant, 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
Polar Pattern: Cardioid
Max SPL: 164 dB SPL
The D12 VR, a descendant of the old D12s that are no longer produced, is a rather special microphone that makes perfect sense when the production involves having a well-highlighted bass drum.
Specifically designed for recording bass drums, the sound is thick and round, rather dark, but at the same time quite soft — 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, so 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 sound of the bass drum.
Very practical!
► See the current price of the AKG D12 VR at: Thomann Woodbrass Amazon
2. AKG D112
Brand: AKG
Type: Dynamic
Polar Pattern: Cardioid
Max SPL: > 160 dB SPL
Again, a microphone from AKG, easily recognizable due to the green ring at the front.
The sound is very different from the D12 VR, though: here, we have pronounced upper mids but especially a sound that is a bit more “scooped” as the English speakers say — meaning that the mids/lower mids are rather recessed compared to other frequencies.
The D112 was also specifically designed for recording bass 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 recording kick drums.
Thanks to two frequency boosts around 60 Hz and 5/10 kHz, this mic delivers a lot of punch and power while allowing the sharp crack of the beater on the drumhead to stand out.
The result is a very “scooped” sound, with the 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
To mic 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 a certain density and body to the instrument.
Finally, let’s also note that it is a very sturdy microphone — it won’t flinch if it occasionally takes a hit from a stick by mistake.
► 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 mic.
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 Beyerdynamic M 201 is my third microphone suggestion for snare drum, and a very common choice in the studio for this application.
The sound is darker than the i5, but especially with softer highs and a bit more body, which makes the microphone less dull in the end. It captures well, notably, the crack of the snare in the upper part of the frequency spectrum.
Due to its hypercardioid directivity, it also tends to reduce the amount of bleed from elements located on the sides — so take the time to position it correctly to maximize the quality of your recordings.
► See the current price of the Beyerdynamic M 201 TG at: 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 condenser microphones, which generally work quite well.
That said, especially to avoid overly aggressive highs from the cymbals, I recommend, if possible, selecting microphones that have specifically proven themselves as overheads.
1. Oktava MK-012
Brand: Oktava
Type: Small diaphragm condenser
Directivity: Cardioid (but hypercardioid and omnidirectional capsules are available as options or in some 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 articulate 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 pair) at: Thomann Woodbrass
2. Audio-Technica ATM450
Brand: Audio-Technica
Type: Small diaphragm condenser
Directivity: Cardioid
Max SPL: 152 dB SPL (162 dB SPL with the -10 dB pad)
The ATM450 from Audio-Technica is perhaps a slightly lesser-known but excellent choice for overhead drum recording.
Indeed, despite their quite accessible price, they provide a balanced, open, clear, and realistic sound — with cymbals that stand out well without ever having the aggressive side one might expect in this price range. The bass, on the other hand, is present but not overly emphasized.
If your goal in placing overhead mics is to capture the drum kit really globally, a pair of ATM450 should allow you to easily achieve your goal.
In short, microphones with a great quality/price ratio.
► See the current price of the Audio-Technica ATM450 on: Thomann Amazon
3. Beyerdynamic M160
Brand: Beyerdynamic
Type: Ribbon
Directivity: Hypercardioid
Max SPL: not confirmed by the manufacturer
The Beyerdynamic M160 is necessarily a bit more expensive since it is a ribbon microphone.
In an overhead pair 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” setup.
Moreover, its hypercardioid directivity (rare for a ribbon microphone) makes it quite insensitive to 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 to add 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 studios for overhead drum recordings or in more distant “room” positions.
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 (paired) on: 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 recording toms, the Sennheiser MD421s are truly a reference.
Certainly, you can opt for used vintage models, but the new MD421-II 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
Directivity: Hypercardioid
Max SPL: not confirmed by the manufacturer
Another interesting option for capturing the sound of toms from a drum kit: the ATM320 from Audio-Technica, which are quite similar to the older ATM25, whose production has unfortunately been discontinued.
Indeed, specifically designed for drum recording, these have good presence and a good low-end response.
Moreover, likely due to their hypercardioid directivity, the ATM230 exhibit 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 at all essential 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
Directivity: Hypercardioid
Max SPL: not confirmed by the manufacturer (but no issues to expect, 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 sufficiently smooth highs so that the recording is 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 a lot of precision, which means that by taking the time to place it, you can minimize bleed from other instruments.
► See the current price of the Shure SM81 at: Thomann Woodbrass Amazon
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, this kind of pack 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 in the entry-level range.
► See the current price of the Audix FP7 at: 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 at: 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.