Drum Mics for Live use

[fldrummer]

The people I know that want to do some live shows need some drum mics. I was telling them to get a beta 52 or D112 and some sm57's but their insisting on getting that shure mic package with the pg series(I think). What are some other good ways? They are on some what of a budget too. What are the best bang for a buck on over heads? SP C1's?? Thanks

 

[CMEZ]

I would think that large diaphragm condensors would be a bad idea in your average live situation, since they usually have a little wider pick-up than, say SDC's. This going to be asking for feedback troubles.

There are a lot of options these days; and mixing and matching may give you the best deal.

Say, for instance, try an AT Pro 25 on a kick ($60 at MF). '57 on snare ($80-90 anywhere). If you really want 'overheads' in a live situation, try the MXL 603 (just one.) You don't really need 'stereo' drums in a live situation-most people mix live in mono anyways, at least in most small/medium sized clubs.

If not, try the AT mic package that contains the Pro 25 as kick mic. It's cheap, and likely to be just as usable (if not more so) than some others.

Chris

 

[fldrummer]

Thanks, I think they will want a stereo picture tho because they are going to record some shows.

How is that AT pro 25 on kick? Is it comparable to the 52 or D112? They want that real fatt punchy hip hoppy kinda kick if you know what I mean.

 

[bgavin]

No condensors for live venues. The environment is too harsh and the possibility of damage is higher than in the studio.

Audix D series for drums. My drummer's "A" kit has a dozen D4 installed. The DW drums have the D4 permanently mounted inside the drum.

ATM25 for drums. I own several and they do well for toms and kick drum. Many claim the ATM25 is the most "natural" sounding of the popular kick drums.

Electrovoice RE20, but priced very expensive.

The Beyer M201 or Sennheiser dynamics are probably the best choices for cymbals and hats, for dynamic mics.

My SM57 suck canal water on cymbals... definitely not the right choice for this. I have an ancient pair of Radio Shack electret SDC I use for cymbals. I'm looking forward to acquiring a couple of Audix D-series.

 

[Peter Lancaster]

When I mic a drum kit for live use in a venue (300+ people) I use AKG D112 (kick) Sennheiser e604 (snare) and two AKG C3000 (overheads). I've never had feedback problems from the overheads.

You don't need to mic the toms if you position the overheads appropriately. I have recordings taken straight from the desk at a gig in a 900 seat theatre that have perfect tom/cymbal balance using this mic set up. I use the same mic set up for recording in my studio.

For large diaphragm condensors Studio Projects B1s are cheap. For small diaphragm the Oktava MK012a are slightly more expensive.

If the mics are owned by the band and will only be used by the band then they'll know to look after them, so I don't think that their more delicate nature should be of any concern.

You can use dynamic mics for overheads. I've heard live recordings done using SM57s as overheads. They sounded remarkably good, although personally I'd probably never do it.

Pete.

 

[wilkee]

No condensors for live venues. .

The only mic I use live that is not a condenser is for the Kick all other mics have 48v up there arses.

No problems at all.

 

[bgavin]

That's cuz you haven't had beer splattered on them, or knocked over and stepped on.



I play live blues venues with many guest musicians (read: clods). One shitfaced idiot stepped on another guy's guitar and broke the neck.

 

[wilkee]

That's cuz you haven't had beer splattered on them, or knocked over and stepped on.



I play live blues venues with many guest musicians (read: clods). One shitfaced idiot stepped on another guy's guitar and broke the neck.

Thats why I use inexpensive Mics that still get the job done.

A small pencil Mic now costs less than an SM57 and IMO sounds way better.