Snare/Tom mics

I'm looking at buying mics to record drums. I'll likely be using a stereo set of AKG C 414 B-XLSs for overheads, and either a Soundelux ifet7 or U195 for the kick.

My question is, what are some of the standard mics out there for snare drums and toms? SM-57s maybe?

Thanks!

I've used 57's and their cousins the 58's on toms and snare for years, another good one for an attacky sound on toms is the Oktava MC012 condenser, I also have had good results with Beyer m88s and 201s on snare and toms. though I am not sure if they make the 201s any more.
Key to a good snare sound is tuning the snare. I think it sounds best a bit on the loose side. But then this rattles a lot and will easily break with an agressive drummer.

I use a 57 on snare. That is the one mic I find is the 'usual' answer for those who can't afford a $2000 mic for a snare drum. Even those who own expensive mics use a 57 half the time I've found.

I use a 58 on the toms. If not for the sound it's for the isolation. It's really easy to use these mics because they are so great at being unidirectional.

ORIGINAL: calaverasgrandes

I would disagree, the 57 is very well known as the most commonly used mike on snares. I'd say the next most common was the old altec salt shaker which seems to have been on every snare recording in the 60's. Sure alo tof people have used other mics on recordings. But those 2 mics account for over half.
It's likely you would get a plethora of reponses for kick drum mikes, but i am sure most kicks were recorde with an AKG D12 or D112. Or MAYBE a M88 .

Is there a "well known" common mic for toms? Thanx.

ORIGINAL: dali lama

Senn 421 is the industry standard.

Yeah.. I think the "common" mics for drums is Senn 421 on toms, SM81 on hat, SM57 on snare, AKG C414's on overheads or SM81s for live overheads. Kick ? Too many to tell... in the old days it was EV RE20 or AKG D25 but in recent years you see all kinds of them. ATM25, D112, even Shure PZMs (SM91 I think).

ORIGINAL: krizrox

Frank and Dali are right. If you were to take an "old school" popularity poll, those would probably be the winners. Those brands/models didn't become popular for no good reason. They are tried and true.

However, having used SM57's and 421's and RE20's on drums for like.... ever.... I can tell you that they fall short occasionally. One major problem I have is the physical length and weight of those mics (well, the 57 isn't too bad until you have to put one on a fully extended boom stand). I've had too many occasions where a drummer's setup caused a problem for positioning larger mics. Those chinzty plastic capsules on the front of the 57 are notorious for popping right off when whacked with a drum stick.

I suppose it's not an important issue if you're not going to be inviting other drummers into your studio. But I was forced to look at smaller, less obtrusive solutions for my studio. Audix and EV both make great sounding drum mics that fit into tight places easily. At least think about that when shopping around. Have fun!

Hey.. shure needs to make a short SM57 ! That would be a great idea. Maybe like the old SM56 two part rig only smaller just for drums.

Ha!! right! And let's add insult to injury by recording a drummer that doesn't have the sense to stop playing when he sees the mic resting on the drum head

duh... doh e ohh doh

Senn 421 or Shure SM57...my 1st and 2nd go to mics for toms.

That is the one mic I find is the 'usual' answer for those who can't afford a $2000 mic for a snare drum. Even those who own expensive mics use a 57 half the time I've found.

Yup. It's still my standard "go to" for snare and I have a multitude of choices.

Occasionally, if I'm recording light jazz or something, I'll also use an SD condensor on the bottom head (snare side) too, but rarely.

For toms, my stand by's for years have been Sennheiser 421's.

I absolutely LOATHE the mic clip that they come with, but for toms I've never used any better.

They are a dynamic, like the 57, so Phantom Pwr is not required.

BTW... if you are looking at recording different drummers for different projects, I highly advise keeping some 57's or 58's handy for those times when you run across a drummer who manages to hit everything but the drum heads.

57's and 58's are more solidly built, as well as being quite a bit less costly than the 421's.
I used to break them out when I had an "animal" on my hands.

Don't laugh. It's a lot more prevalent than you think.

You've made a great choice on your OH's. I've used 414's along with CS1000's for years with great results... and I'm picky about drum mics too.... because besides being an engineer, I'm also a drummer.

Set those 414's up in an X/Y array and you're gonna love it.

FWIW

-D.

Any opinions on the Audix D-2 on floor toms, or do you like the d-4 better on the floortoms?

ORIGINAL: barthowk
Any opinions on the Audix D-2 on floor toms, or do you like the d-4 better on the floortoms?

I know a lot of people really like the Audix D-2. Personally, I find them a bit lacking in the high end (where you get the attack of the drum). Always felt like I needed to boost it. The D-4 is a decent mic.

You might want to look into the Shure SM98A - we have Senn 421's, SM57's, etc. in our arsenal, but the 98's just sound amazing on toms, so they almost always end up being the go-to mic. I have 5 of them... if the studio burned down, they'd be the first mic I replaced. They're small, fairly easy to position, come with all the mounting hardware, and just sound fantastic.

Another really versatile mic to look into would be the Audio Technica ATM-25. Many people really like them in kicks, but they work fantastic on toms as well, and they're much cheaper (and positionable) than the 421.

If you have space for them, and are looking for an aggressive, meaty drum sound, there isn't much out there better than the 421's... but they won't work on every kit.

Good luck, Brathowk... remember, whatever you end up with WILL work... ANYTHING with an element will WORK. It all depends on what you're reaching for as to what will work the best.

As an aside... we have an RE20, but almost always end up with a Shure Beta-52 in the kick... I was surprised the first couple of months, now I almost expect it. I break out the RE20 for jazz guys, but that's about it these days.

Corey