As with most live instruments, the difference between good and great-sounding live drums often comes down to how you mic your kit . While having quality drums that are tuned is equally important, you have to plan your mic placement recording strategy carefully.

Now, if you're just getting started, you’ve probably pulled some hairs out in frustration from not being able to get your drums to sound as powerful in the mix as they do in the room. I get it. It's easy to get frustrated when you can't figure out why your recordings aren’t capturing what you hear in your head.

That's where this guide is going to come in. As a professional producer and mixing engineer, I've recorded live drums in many a situation. With 10+ years of experience under my belt, I want to provide you with all the info I have so you don't have to spend so much time in the trial and error phase.

Knowing Your Drums

This section will be more for those of you who are not drummers but want to record them. Every piece of a drum kit has a role to play, and how you capture those kit pieces is how your overall recording will come out.

Let's take a look at every single piece of the typical drum kit and why mic placement is key to making the most of them when recording.

Bass Drum

The bass drum, or kick drum, is the foundation of a drum kit, providing low-end punch that often locks in with the bass guitar. When mic’ing a bass drum, you want a microphone that can handle ultra-low frequencies without distorting.

Most engineers opt for dynamic microphones, like the Shure Beta 52A or AKG D112 , as they do an excellent job capturing low-end thump. When recording, I'll typically place the mic just inside the drum or slightly outside, aiming at the center of the drumhead, to get a deep, full sound. The mic’s proximity to the bass drum also helps you capture more attack and definition, which can be especially helpful for genres like rock or metal.

Now, one side note as we go through this article:

I'm well aware that there are infinite ways to go about recording drums, and every person will have their own idea of a "perfect drum sound." In fact, one of my favorite kick drum sounds is John Bonham's kick, which was often recorded with an Electro-Voice RE20 and Shure SM57 combination, which is pretty unusual.

However, the point of this article isn't to go through all possible outcomes but rather to give you some baseline suggestions and help you understand the "why," so you can make experimental decisions later on if you decide!

Snare Drum

The snare drum is just as important as the kick drum in many ways. While every snare drum sounds different, it's most often the bright, snappy sound that you want to pick up (that includes the top and the snare wires underneath).

Dynamic mics, like the Shure SM57 , are often used for snare miking because they can handle high SPLs (sound-pressure levels) and do a wonderful job at picking up mid-range. In a single-mic situation, the mic will typically be placed a few inches above the snare head, angled towards the center. By placing the mic too far from the drum, you risk losing some of that snappy, crisp sound, so close miking is essential here.

Of course, experimenting with positioning is also important, as you want to have a good balance between the snap of the snare drum and the body of the sound.

Toms

Toms come in all shapes and sizes as well, and a single kit might have multiple toms. As a beginner, I'd just focus on understanding what the role of the toms is in the track you're recording and mic them all in a similar fashion.

An old-school, Motown-style track might not call for tom mics at all. Many engineers would get the sound of the toms from the overhead mics or the room mics. However, many modern pop, rock, and country engineers will close mic their toms to capture their full depth and tone.

Dynamic microphones are typically used for toms as well. Some of the most popular include the Sennheiser e604 and Audix D2 . When close-mic'ing, I'll typically position the mic just above the rim of the drum, angled slightly toward the center of the head.

Cymbals and Hi-Hats

Cymbals are the most challenging part of the kit to mic, mainly because they have a very bright, wide frequency range and can easily ruin the sound of your overall drums if the microphones are placed poorly.

Condenser microphones are a common choice for overheads, as they capture top-end, or shimmer, much better than their dynamic counterparts. The hi-hat, which is much smaller and more sensitive, also requires a careful touch. I'll typically go for a small diaphragm condenser mic positioned slightly above the edge of the hi-hat to capture it without picking up too much of the rest of the kit.

The Importance of Having Tuned Drums

One of the biggest rookie mistakes is recording drums without tuning them first. I won't lie. If you're not an experienced drummer, tuning drums can be difficult.

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However, the way in which they're tuned can have a major impact on how your drums sound in the recording. Drums that are too tightly tuned might sound harsh and lack body, while drums that are too loose may lose definition. Look at the genre you're recording and see how other drummers tune for that genre to give yourself a jumping-off point.

The Best Microphones for Recording Drums

Not all mics are created equal, and it's important for you to understand the differences between dynamic, condenser, and ribbon microphones so that you can make the right choice for each part of your kit.

Dynamic Microphones

Dynamic mics are built to handle high sound pressure levels (SPLs) without distorting, which is why they're such a popular choice for drums, especially kicks, snares, and toms.

Pros :

• Durable and can handle high SPLs.
• Generally more affordable than condenser or ribbon mics.
• Less sensitive, which means they’re great at rejecting background noise and bleed.

Cons :

• Less sensitive than condenser or ribbon mics, which means they may not capture all the subtleties of a drum’s tone.
• Limited frequency response compared to condenser mics.

Condenser Microphones

Condenser mics, on the other hand, are more sensitive and accurate than dynamic mics. This makes them better at capturing the full spectrum of sound. They have a wider frequency response and greater detail, which is why you'll see so many engineers using them for overheads and room mics.

Pros :

• Highly sensitive and capable of capturing a wide range of frequencies.
• Great at picking up the nuances and subtle details of a drum kit.
• Ideal for overheads and room mics.

Cons :

• More fragile and less durable than dynamic mics, so they may not handle high SPLs as well.
• Generally more expensive than dynamic mics.

Ribbon Microphones

While ribbon mics are less common, they still have a place in drum recording. With a uniquely smooth characteristic, they're perfect for capturing warm, natural drum tones. Just note that ribbon mics can be delicate, so I wouldn't recommend them for recording heavy-handed drummers. However, for a vintage sound, you can't get much better!

Pros :

• Natural, smooth sound with a gentle, vintage character.
• Excellent at capturing the midrange frequencies and rejecting high-end harshness.

Cons :

• Extremely fragile, especially when exposed to high SPLs, so they must be handled with care.
• Less common in most drum setups and can be expensive.

Choosing the Right Mics Based on Your Budget

Luckily, high-quality mics exist at all price points these days. Even if you're on a budget, you’ll still be able to get professional-sounding results without spending a fortune.

• Budget-friendly options : For dynamic mic options, the Shure SM57 (for snare) and the AKG P2 (for kick drum) are great choices. For overheads, I recommend checking out small-diaphragm condensers like the Audio-Technica AT2021 .
• Mid-range options : While it's not typically thought of as a "drum mic," I'm a huge fan of the Shure SM7B for snares, especially on the bottom. You can also check out the Sennheiser e604 for toms, which strikes a nice balance between cost and performance. For overheads, the Rode NT1-A offers tons of clarity and detail.
• High-end options : If you're looking for the best gear, Neumann U87s are great for overheads and Royer R-121s are great for room or ambient miking. Just note that these mics will pick up every nuance in the room, so if your room doesn't sound great, buying expensive mics won't help.

Now, if you're on a serious budget or just don't feel like sourcing a bunch of different mics for recording, you can always invest in a drum mic kit.

These will give you pretty much everything you need to mic your kit at a fraction of the cost of buying individual mics. The Audio-Technica AT2020 Drum Pack , for example, includes three dynamic mics for the snare and toms, plus a condenser mic for overheads. You can also check out the Shure DMK57-52 kit , which comes with SM57s for the snare and toms and an AKG P2 for the kick drum.

How to Choose and Place Mics for Each Drum

So, you have your mics all ready to go, and the next step is figuring out how to place them. Every drum and cymbal calls for specific mic placement, so let's take a look at the best practices for mic’ing each part of your drum set.

How to Mic Bass Drum

In my eyes, getting a great kick drum requires capturing both the weighty low-end thud and the sharp attack that defines the bass drum’s sound.

To capture the attack of the kick drum (the sharp “click” of the beater hitting the drumhead), you’ll want to place your mic inside the bass drum, pointing it toward the beater. This will give you a punchy and defined sound that's great for rock or pop.

For a weightier low-end thud , position the mic just inside the bass drum or near the air hole (if the drum has one). This will give you more of the deep rumble and fullness that you often hear in dance or electronic music.

If you want the best of both worlds, consider using a combination of two mics. For example, you can use the Shure Beta 52A just outside or near the sound hole of the bass drum for low-end and another good low-end capturing mic, such as a Shure Beta 91A , near the beater for click.

Just note that if you choose to use multiple mics, you have to be aware of phase cancellation.

Check out our guide on phase in audio to learn more!

How to Mic Snare Drum

The unique challenge with mic'ing a snare drum is that there isn’t always a lot of space between the drums, which limits where you can place your mic. However, getting your mic in the right position can make all the difference.

Many engineers prefer mic'ing just the top head of the snare , but others swear by both the top and bottom heads. The sound you get from the top of the snare is focused on the body of the drum, especially if you position the mic near the center. As you move the mic closer to the rim, you'll get more of the snare wires underneath.

I usually start with a dynamic mic, such as a Shure SM57 , placed about 1.5 inches above the snare head, around two inches inside the rim, angled downward at a 25-degree angle toward the center of the head. This positioning provides a great combination of punch and clarity. If I want to reduce the low end, I’ll move the mic farther away from the drum or adjust the position away from the center.

Now, adding a second mic underneath the snare drum is great if you want more snare wires. As a beginner, however, this “top and bottom” technique might not be necessary. In fact, many engineers I know use it selectively. A good starting point is an 80/20 balance between the top and bottom mics, with the top mic being the dominant sound.

For the under-snare mic, you can use a variety of microphones, such as the Shure SM57 , SM7B , or a condenser like the Audio-Technica AT4033A .

Just ensure that when setting up the bottom mic, the polarity should be reversed to avoid phase cancellation.

How to Mic Toms

Before I get into mic'ing toms, I want to quickly reiterate how important it is to tune them first. I can't even begin to tell you how many amateur recordings I've worked on where the toms sound flabby or disconnected because of poor tuning.

Now, as for how to mic them, the Sennheiser MD421 is often my go-to. It captures toms in their full range, and with a high SPL rating, it does so without distortion.

For a focused sound with lots of attack, I'll typically place an MD421 about two to three inches above each tom head, angled at 45 degrees, and aimed directly at the center of the drumhead. This should give you the sharpest attack and presence. If you want less attack and more ring, you can position the mic closer to the rim.

Note that if you're mic'ing multiple toms, it's important to aim the mics in the same direction to avoid phase problems.

How to Mic Hi-Hats

The hi-hat is an interesting kit piece, as while it predominantly produces brighter, high frequencies, it also has a significant amount of low and mid-range frequencies. These are especially noticeable when the mic is placed closer to the cymbals. My philosophy with mic'ing hi-hat (if I need to at all) is to capture the attack of the sticks while still preserving the warmth and resonance of the cymbals themselves.

If you’re mic'ing the hi-hat from below, for example, you lose a lot of stick attack, which is why I often position my hi-hat mic around two to four inches from the top of the cymbal, aiming it where the stick strikes. It also typically sits about one inch from the edge. This placement should give you tons of attack without much bleed from other kit pieces.

In terms of mic selection, I like cardioid and super-cardioid microphones, as they're more focused. I recommend checking out the Neumann KM-184 or Shure-SM81 , as their pencil shapes make them easier to position.

Now, with all of that said, I pretty rarely close-mic my hi-hat unless it's a big part of the sound. For example, a disco track thrives on a hat, and having more control over its dynamics and nuances can be helpful in the mixing phase.

How to Mic Overheads

Your overhead microphones are what you'll use to glue every piece of your kit together, so I'd say they're pretty dang important.

When you set up your overheads, keep in mind that the goal should be to capture a cohesive image of the drums as a whole.

The overheads should also work in harmony with your close mics to produce a sound that feels natural and unified, rather than isolated. There are many variables that come into play in terms of how you place your overhead microphones:

• Left to Right (Stereo Image) : One common approach is using an X/Y or ORTF configuration to center the overhead mics over the drum kit. This gives you a balanced stereo image, with both the cymbals and toms evenly spread across the mix. However, it’s important to consider that the snare may end up on one side of the mix, which could cause issues when trying to center it with the snare mic. To resolve this, you can adjust the mics to create an "offset" in the stereo field.
• Focal Point (On-Axis Positioning) : You'll also want to decide what your focal point is. If you want more presence from your cymbals, make them the on-axis target (point the mics directly at them). Alternatively, if you prefer more of the drum kit’s body in your overheads, focus the mics on the drums themselves. You can also strike a balance between the cymbals and drums for the best of both worlds.
• Front to Back : The positioning of your overhead mics in relation to the front and back of the kit will also have a major impact on the sound. As you move the mics forward, you'll get more of the cymbals and rack toms. Pulling them back, on the other hand, will bring them closer to the snare and floor toms.
• Up and Down (Height Adjustment) : Lastly, the height of your overhead mics can drastically change the overall tone. Lower mics will capture a tighter, more direct sound, while higher mics bring in more of the room’s ambiance and give the recording a fuller, more open feel. You can also adjust the height of the two mics independently to compensate for any differences in the sound arrival time from different parts of the kit.

How to Mic a Room

Lastly, we have room mics , which are used to provide a sense of space and natural ambiance. Room mics are different from overheads as they help pick up the reflections and reverb in the space itself. I'll also start by saying if you're working in a room with poor acoustics or a dry, lifeless sound, you may find that room mics don’t deliver the natural ambiance you'd hoped for.

In that case, you can always add a fake room sound later during the mixing phase using a convolution reverb plugin like Altiverb , Valhalla Room , or FabFilter Pro-R 2 .

With that said, if you have a decent room you're recording in, the simplest way to capture it is with a single room mic placed at a strategic point in the room.

For a spacious, ambient sound, I like to place my room mic near the opposite wall, far from the drum kit. Point it away from the kit and into the back wall of the room to capture its natural reverberation. This way, you'll emphasize the space without direct cymbal bleed.

A good starting point is typically six feet away from the kit at head height . This positioning will give you a perspective similar to what an average listener might hear.

Now, on the other hand, if you want a more personal, intimate room sound, you can try positioning your room mic just two feet behind the drummer’s head . This close proximity can capture the sound of the drum kit with a strong sense of the room around it.

Final Thoughts

Now that you have the tools and techniques to mic your drum kit like a pro, it’s time to put them into practice.

Once you're comfortable with the basics above, start experimenting with different techniques. Don't be afraid to try unusual setups or test out different mics on drums they don't necessarily belong on. Also note that every drum kit and room will respond differently, so take the time to try new things and trust your ears .

Happy recording!