The art of properly miking a drum kit is fundamental when capturing its unique, distinct sound that insulates the rest of the instruments. Whether working in a studio environment or on stage in front of an audience, the drum kit's energy, depth, and dynamics can either make or completely break the quality of a recording or the impact of a live performance.  

To achieve a great, well-balanced, and polished sound, along with the use of quality microphones the careful and thoughtful consideration of placement, tuning, and therefore the environment surrounding your microphones is equally important.

Let's take a journey through the fundamentals, involving some of the prominent miking setups and advanced techniques on how to achieve that healthy drum sound to complement and elevate even the highest musical style.

Understanding Drum Kit Miking Basics

In order to mic a drum kit appropriately, one has to know the basics. With that in mind, distinct elements of a drum kit require both close and ambient miking: your close mics on specific parts of the drum kit, such as the snare, or the kick, are completed with overhead and room mics painting the picture of the entire kit's ambiance in a well-rounded, coherent sound. 

Every mic placement affects the sound, dynamics, and balance, which is why there should be some basic knowledge for a professional outcome.

Choosing the Right Microphones for Drum Miking

For drum miking, you need to choose the correct microphones for each piece of the drum, considering the capture of a well-rounded and dynamic sound of a drum. 

Every piece of the drum kit produces different frequencies and tonal characteristics, so this will show what kinds of microphones are best used with each element and enable you to get that balanced mix where all characters come out of the kit. 

In this section, we discuss the kind of microphones most commonly used in drum miking, why they are used, and the element every kind of microphone is best at in a kit.

Kick Drum Microphones

The kick drum, or bass drum, is known to produce low frequencies with a powerful attack. Thus, for kick drum microphones, a microphone should pick up these qualities without distortion. Their requirement becomes a requirement of a large-diaphragm dynamic microphone that can be used for cutting such high SPLs thrown by the kick drum. 

Snare Drum Microphones

Any drum kit relies on the snare drum for pearly, articulate tones that require an even more detailed microphone. Small-diaphragm dynamic microphones are favored for snare miking due to their ability to accommodate high SPLs while providing crisp crack and attack of the snare.

In some situations, another mic is placed at the bottom of the snare drum to record the sound of snares (wires) for more brightness. It's all about finding a mic that really does your snare and body as well, without bleeding into other drums.

Microphones for Toms

For toms, you would want a microphone that can handle mid-range frequencies in a way that will capture the natural resonance and depth of each drum. Medium-diaphragm dynamic mics usually do a fantastic job for toms; they are extremely good at picking up punch and warmth without color. 

For studio applications, it is not unusual for engineers to put condenser microphones on toms to get more detailed and longer sustain. Placement of these mics close to the drum's head, but angled slightly helps produce a clean full-bodied sound while keeping much bleed from other drums.

Hi-Hats and Cymbals Microphones

High frequencies with very fast transients, hi-hats, and cymbals; so, often small-diaphragm condenser microphones are utilized to record their nuances. For hi-hats Mics with high-frequency sensitivity and quick response are used that reproduce the clarity and crispness of every hit. 

For ride cymbals, larger condenser mics or even ribbon mics are sometimes used to capture warmer, fuller tones. Properly miking the hi-hats requires some distance and angle control to avoid harshness and too much bleeding from the snare.

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Overhead Microphones

Image sourced from Reddit

The overheads are vital for the catch of the overall sound and ambiance of the kit. They provide a stereo image of the drums, taking into consideration cymbals and the whole kit's resonance. Large-diaphragm condenser microphones are used because they can record a wide frequency range and are sensitive to both low and high frequencies. 

Ribbon mics can sometimes be used for overheads, particularly in styles where a warmer, generally more vintage tone will be desired. Overhead miking techniques can range from spaced pairs to X-Y or ORTF configurations, each with its spatial feel.

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Here is a comparison table for these microphones types!

Microphone Type	Ideal Application for Drum Kit	Sound Characteristics	Pros	Cons
Kick Drum Microphones	Capturing powerful low frequencies, punch, and attack from the kick drum	Emphasizes low-end, adds weight to the sound, crisp attack	Great for high SPL handling, clear punchy sound	Can be limited in capturing higher frequencies (unless using condenser mics)
Snare Drum Microphones	Capturing crisp crack, attack, and detail of the snare drum	Clear, sharp attack, focused midrange frequencies	Excellent for detail, handles high SPLs, minimal bleed	Can sometimes lack warmth, prone to picking up bleed from other drums
Toms Microphones	Capturing the punch and resonance of toms, mid-range frequencies	Punchy, warm, with natural resonance, smooth mids	Captures depth and warmth, versatile for various tom types	Can sometimes struggle with capturing very low-end without EQ adjustment
Hi-Hat and Cymbals Microphones	Capturing clarity and crispness of high frequencies with fast transients	High-frequency sensitivity, quick transient response, detailed	Excellent clarity and definition of cymbals, minimal distortion	Sensitive to positioning; can pick up unwanted bleed from snare
Overhead Microphones	Capturing the overall sound and ambiance of the kit	Wide frequency range, sensitive to both high and low frequencies	Provides full stereo image, captures kit ambiance	Can pick up unwanted bleed from other drums, especially in close mic setups

Essential Microphone Techniques for Drum Kits

To capture a well-rounded and dynamic sound from a drum kit, it is required that special microphone techniques be applied. Only proper miking brings forward the unique character of each drum and gives balance to the whole kit. 

Techniques begin with close miking up to overhead and the room miking technique which can certainly define the tonal quality or the spatial depth of the drum recording. 

Here, we will explore the basic ways in which techniques of microphones are used for the attainment of professional and balanced sounds on the drums.

Close Miking for Individual Drums

A microphone is placed directly next to each drum or cymbal and catches its direct sound, which has an extremely low bleed from the other kit components. In this sense, close miking makes it possible to precisely control the sound of each drum in the mix; it emphasizes the attack, depth, and tonal characteristics. For example:

Kick Drum

A large diaphragm dynamic microphone placed inside the drum shell or directed at the batter head will catch the attack and punch the low end. It is not uncommon for engineers to also use an additional microphone outside the kick drum to capture resonance and a fuller bass response.

Snare

A second small dynamic mic, preferably something like the Shure SM57, is placed about an inch above the drum head, angled a little bit to reduce bleed from the hi-hat. A second mic can also be placed below the snare to capture the sizzle of the snare wires.

Tom

These are close-miked with dynamic microphones placed a few inches above each drum, angled slightly to capture depth and resonance. The mic should be pointed at the center of the drum head, taking care to avoid bleeding and maximize the full tone.

Overhead Miking for Cymbals and Kit Ambience

Overhead miking captures the full width of the drum kit, and it usually focuses on cymbals, giving a spatial dimension to the sound. These microphones also lend a stereo image with natural reverb and depth that close miking does not possess. Techniques that use overhead include:

Spaced Pair

Mount the pair of condenser microphones a few feet above the kit with some space in between. The sound is wide because each microphone records one side of the kit.

X-Y Technique

Place two cardioid microphones, 90 degrees separated but with their capsules on the same plane. This will eliminate problems with phase while generating a strong stereo image that will be perfect for tight or small spaces.

ORTF Technique

It consists of two cardioid mics placed at an angle of 110 degrees and separated by 17 cm. It simulates how human ears take in the sound; this is why it sounds just like it would if one were there in the room, which is too natural and very spacious.

Room Miking for Depth and Ambience

They capture the natural reflections and reverb of the room in room miking. It adds depth and character to your drum sound. The usual placement of room mics is several feet away from the kit; height, however, varies. These are especially helpful in genres such as rock, jazz, or blues, where you want that kind of live or ambiance sound.

Single Room Mic

A single condenser mic is placed in front of the kit, with a center, ambient sound. This is probably the most straightforward and effective method for small rooms.

Stereo Room Miking

This method positions two room mics in a spaced pair or ORTF arrangement, where it captures a wider, more immersive sound. This is suitable for large rooms, adding that natural reverb to the overall mix.

Miking Individual Drum Components

Each drum component has different considerations, as follows:

Kick Drum

Use a dynamic mic inside or outside the sound hole of the drum to achieve low-end punch. The placement of the mic inside the kick drum shell is said to cause a wide-ranging tonal balance between the thump and the click.

Snare Drum

A dynamic mic positioned just above the rim, angled down toward the drumhead, captures that bright, snappy sound. It's generally a good idea to have a second mic placed under the snare and angled up toward the snare wires for snap and resonance.

Toms

Miking toms close to the head tends to emphasize depth and warmth. Angle each mic so it doesn't conflict with the drums on each side.

Hi-Hats

A small diaphragm condenser at 3–5 inches above the hi-hat can easily capture its brightness and sizzle without overwhelming the rest.

Cymbals

Overhead mics, commonly condensers, are used to capture cymbals and balance the overall sound of the kit. Overhead heights and spacings affect the cymbals' brightness and stereo image.

Proper placement for all elements ensures that the sound quality is clear and distinct throughout the kit.

Setting Up for Optimal Recording

  Image sourced from Reddit

Recording a live drum kit is a very specialized process that goes from drum tuning to mic positioning to get the best drum sound out of an entire recording environment, where sound quality is sought.

The above elements build the clearness, tone, and enhance the overall quality of the sound of the drums. Here's how one should set up his or her drum kit mic in complete detail:

Setting Up for Optimal Sound

Achieving optimal sound when miking a drum kit requires careful consideration of the entire recording environment, including drum tuning, mic positioning, room acoustics, and sound isolation. Each element contributes to the clarity, tone, and overall quality of the drum sound. Here’s a comprehensive look at the key steps and considerations for setting up your drum kit mics for the best possible sound:

1. Optimize Drum Tuning and Maintenance

Ensure the drum kit itself sounds perfect before placing any microphone to sound its best, which will make it easier to produce high-quality audio. It should be set to its natural frequency to prevent unwanted overtones and create an almost perfect balance of tone. It should have drum heads that are in prime condition.

Worn-out heads could create distortion that will not translate as well in either recording or live settings.

2. Understand Room Acoustics

The drum room is going to impact your sound. In general, smaller rooms tend to give you brighter, dryer sounds with a little more natural reverb, whereas larger rooms introduce more echo or depth in the sound. 

Best of all for drum recording environments is a medium room- if possible- with some sort of acoustic treatment foam panels or bass traps to help absorb too many reflections and control the low end.

Sound Treatment

Wall and corner absorbers, as well as ceiling absorption, help control reflections that can muddy up the sound of the drums. While some degree of natural reverb is a good thing, too much reflection causes a phase issue that loses clarity.

Sound Isolation

When recording in a home or shared space, isolation techniques such as putting a drum shield around the kit can prevent the bleed of the sound into other microphones or recording equipment.

3. Positioning Microphones with Precision

Placement of Microphones with utmost precision is needed to get the absolute best sound possible from any drum and cymbal. Try placing it around and at varying angles until you get the perfect place to put each mic to be free from bleeding while making sure every element in the kit has its unique tone.

Kick Drum Positioning

Inside the kick drum with a dynamic microphone, several inches from the batter head, and angle toward the center of the drum. This placement is going to catch you punchy attack sounds. Then add in a secondary mic placed right outside the resonant head for even more low-end resonance.

Snare Drum Mic Placement 

Locate a mic near the top snare head at an angle, pointed slightly away from the hi-hat to cut bleed. To add brightness, locate another mic under the snare so the snare wires buzz.

Tom and Hi-Hat Miking

Place a mic just above the tom just off-center, angled toward the center of the drum. Place the hi-hat mic on the edge with this miking angle, where it can pick up the detail but not too much of the snare.

4. Set Up Overhead and Room Mics for a Balanced Stereo Image

Overhead mics provide a stereo image of the drum kit that captures the general sound as well as the cymbals. For best stereo imaging:

Overhead Spacing and Angle

 Use a spaced pair or X-Y setup to avoid phase issues and maintain a well-balanced stereo field. The overhead mics should be positioned equidistantly on each side of the kit, capturing the whole setup and giving that sense of spatial placement.

Room Mic Placement

They're usually positioned a few feet out from the kit to get some of that natural reverb and resonance in the room. Experiment with placing the room mic back for more ambiance or forward for less. If you position room mics up high in the room or farther back, it's going to enhance the space even more, whereas placing them closer, and tighter makes for a more focused sound.

5. Apply Pop Filters and Windscreens 

To prevent unwanted noise or plosive sounds, one can apply a pop filter or windscreens to specific mics when in a live environment. They are especially helpful in snare and kick drum mics for that kind of power air movement. These filters protect the mics and also help reduce distortion.

Balancing and Blending Drum Mic Signals

Once all mics are set up, balancing and blending their respective signals should make achieving a cohesive sound much easier. First set levels individually on each of the mics, then blend the overheads and the room mics to add ambiance and depth.

Techniques include such adjustment of EQ and compression that it is possible to have the frequency range managed so that each drum sits properly in the mix. Balancing kit components makes the point that allowing each component to do its job means that they are all together in a good sound.

Troubleshooting Common Drum Miking Issues

Drum miking may be challenging in certain considerations, but some of the common troubleshooting techniques include:

Dealing with Bleed

Close miking will usually minimize bleed, while a gate or noise suppression plugin during post-production can easily control sounds to be least desired.

Phase Issues

Stage Handling All mics are aligned in phase. It is essential to ensure that the overhead and room mics are not phase-offset, which prevents creating a hollow sound.

Reducing Unwanted Resonance

Damping techniques, in this case, gel pads on the drumheads, help to control excessive resonance.

Here is a complete youtube video as a guide for beginners doing drum recording!

Why Choose GeekStands for Stage Microphones for Drum Kits

At GeekStands, we are dedicated to providing our clients with high-quality stage microphones specifically designed for capturing the powerful sound of a drum kit. Our mics are crafted with precision, ensuring optimal sound clarity, durability, and performance, even in the loudest and most energetic live environments.

We offer a range of stage microphones tailored to drum kits, including specialized mics for the kick drum, snare, toms, and cymbals. Whether you're looking for dynamic mics that can handle high-pressure sound or condenser mics for more detailed capture, our selection ensures you'll find the right mic to amplify every hit and nuance of your drum kit.

Designed to minimize bleed and handle high SPL (sound pressure levels), our mics ensure your drum sound cuts through the mix without distortion.

These features make GeekStands a trusted name in the industry for stage microphones for drum kits. If you're looking for high-performance mics to enhance your live drum sound, don't wait—grab yours today and bring your drum kit to life on stage!