I’ve done plenty of drum recording sessions in big, fancy studios with hundreds of thousands of dollars worth of equipment throughout my time. However, what I’ve actually come to prefer is the comfort of recording drums at home.

There’s something about it, the lack of a clock ticking down the session, and of course, not needing to worry about how many coffees I can afford every time I need to hop outside the studio to take a break.

At home, I can hit the drums whenever I want, in my sweatpants, with a cup of coffee in hand (or maybe a beer - no judgment). And there’s no one asking if I'm really sure I want to record with that snare.

Now, I’m not trying to sound impressive by any means, as my home setup isn’t exactly soundproofed and acoustically treated like a pro tracking room. But after years of being in numerous pro studio environments, I’ve realized that the biggest difference between studio recordings and home recordings often comes down to one thing: the room.

And when it comes to drums, the way the room interacts with the instrument is HUGE. A small room can make drums sound, well, small . Big studios have all the space to create those powerful drum sounds we hear on our favorite rock records, thanks to their massive tracking rooms and professional treatment. But it doesn’t mean you can’t get a killer drum sound in your living room.

In this guide, I’m going to show you how to make the most of your space, no matter how "unprofessional" it may seem.

Capturing the Perfect Drum Tone

There are a million opinions out there on how to do this “right.” But here’s the truth: there’s no one-size-fits-all. It’s an art, and everyone’s got their own take on how to capture the perfect sound.

But if you’re just starting out, it’s a good idea to lean on some tried-and-true methods.

They’ve stood the test of time for a reason, and they’re a solid foundation to build on. Start with a simple setup. A kick mic, a snare mic, and a couple of overheads can do the trick. Keep it basic.

As you gain experience, you’ll be able to make adjustments. You’ll start to hear what works in your space, what doesn’t, and how the room affects your sound. Maybe you’ll start experimenting with different mic positions or even swapping out different types of mics. The key is to get comfortable with the fundamentals first.

Setting Up Your Drum Kit

If there’s one thing I’ve come to know as certain over the years, it’s that good results always start at the source. If your drum kit is poorly tuned or set up, no amount of high-end gear is going to save you.

Tuning drums is an art, and it’s a skill you’ll want to get good at. If you don’t know how to tune your drums properly, it’s worth consulting someone who does. A well-tuned kit can make all the difference. And while we’re on the topic, if your drum heads are older than your favorite pair of jeans, they’re probably not doing you any favors. You might want to replace them before you even think about hitting record.

If you have your drums tuned up and ready to go, but you’re still hearing some unwanted resonance, don’t panic. This is why Moongels were made. They’re especially nice if you’re after that dry, controlled sound.

And lastly, consider your cymbals. You can have the perfect drum setup, but if your cymbals sound like trash, it’ll be hard to get that sound you’re after. If you’re working with a limited budget, put your money into your cymbals first.

The Room

The next thing to think about is the room itself. The space you’re recording in has a HUGE impact on your drum sound.

Now, you’ve got a couple of options here: you can either embrace the natural acoustics of your room, or you can try to tame it and add some synthetic room ambiance later.

Using Natural Ambiance

Just because the best recordings are often made in great-sounding rooms doesn’t mean you need $10,000 worth of acoustic treatment and a million-dollar console. Some of the most iconic drum sounds were captured in places that definitely weren’t what we’d consider “traditional studios.”

Take “When the Levee Breaks” by Led Zeppelin, for example. The drums on that track were recorded in a stairwell of a house, not a professional studio. The sound wasn’t engineered to be “perfect” - it just had the right vibe.

So, don’t get hung up on the idea that your room needs to be a state-of-the-art studio. Sometimes, it’s about embracing the unique character of the space you’re in.

Sure, not every room is going to work for every project, but if you’re in a place that has good acoustics or a unique sound, it might just be the secret ingredient your drums need.

Controlling Your Room's Acoustics

Okay, so maybe you’re not lucky enough to have a room that naturally sounds cool. In fact, your room might be more "uninspiring" or, downright bad when it comes to acoustics. But just because your space isn't perfect doesn’t mean you’re doomed to a dry, lifeless drum sound. In fact,  you have a real chance to take control and shape your sound the way you want it.

If your room isn’t doing you any favors acoustically, think about controlling those sounds rather than trying to embrace them. Soft materials can work wonders here - think blankets, pillows, or even foam panels. If you’ve got a little extra cash, you can grab some acoustic treatment to tame any harsh reflections or unwanted resonance. The goal is to create a more controlled environment that gives you better clarity when you record.

Then, if you still want to add some room character, you can always do it later in the mix. There are a ton of plugins that can help you bring that room sound back, like Altiverb, Valhalla Room, or Waves Abbey Road Reverb .

You get to better control the sound in the mix if you keep it tight and clean during recording.

Recording Drums the Simple Way

If you’re after that big, natural sound with a minimal mic setup, you’re going to need two things: a great drummer and a great room. This approach treats the kit as one cohesive entity, rather than isolating every single drum. The goal is to capture the full dynamic range of the performance, so the room’s natural acoustics play a bigger role in the sound. Plus, you don't need an audio interface with a ton of inputs to record drums this way.

When it comes to mic’ing, less is more. Usually overhead microphones and maybe a couple of close mics on the bass drum and snare. That's it.

To start with, overheads are your bread and butter.

Use a couple of large or small diaphragm condenser mics for a broad, accurate capture of the entire kit. Condensers tend to give you great detail and clarity, especially for cymbals. If you’re not a fan of harsh highs or want a smoother tone, consider ribbon mics as an alternative.

Mic placement is key. The idea is to position the mics in a way that gives you a balanced representation of the kit as a whole. Typically, you’ll want to place your overheads between two and three meters above the floor. The exact placement depends on the room and the sound you’re going for, but usually, you’ll either place them slightly behind or in front of the kit. Experiment with the angle and height until you get a natural, balanced sound that covers the whole kit.

Finding the Right Overhead Mic Setup

While there are many ways to approach overheads, I want to focus on the difference between X/Y and A/B setups.

First up, X/Y . This setup is great if you're aiming for a tight, focused stereo image. It involves placing two microphones in a coincident pair - basically, the capsules are right next to each other and pointing at the kit at slightly different angles. This setup is perfect if you’re working with a smaller space or you want to minimize phase issues. You’ll get a clean, punchy sound with a good balance between the cymbals and drums, and it's super easy to manage in the mix.

A/B is the setup to go with if you’re after a bigger, more open sound and have a bit more space to work with. In this setup, the mics are spaced apart (typically anywhere from 3–6 feet, depending on your room), creating a wider stereo image. This gives you more room to capture the full dynamics of the kit, especially if you want to emphasize the room acoustics or get a larger, more ambient sound. The downside is that it can be a little trickier to manage phase issues, so you might have to tweak a bit in post.

Once you’ve got your overheads dialed in and you’re happy with how the kit is sounding, it’s time to think about adding some spot mics. Focus on the essentials, like the kick and snare . The overheads should give you a nice, balanced representation of the whole kit, but a close mic on the kick will add some punch, and a snare mic will give you that extra crack.

Recording Drums the Nuanced Way

Sometimes, you don’t need the room to do all the work for you when recording drums. If you’re after a more intimate, detailed sound, a close-mic approach is the way to go. This technique will give you a much drier, tighter sound. It’s perfect for capturing all the little nuances of a performance, like the subtle ghost notes or the way the drummer’s foot taps the pedal.

This approach is also great if your room acoustics aren't exactly flattering, or if your drummer's dynamics aren’t quite as dialed as you'd like them to be.

Start with the Overhead Mics

When you’re setting up to record drums with several mics, start with the overheads. The overheads are your most important mics in capturing the natural sound of the kit. They’re going to pick up the balance between the cymbals, drums, and room, and give you a stereo image that ties everything together. If you get them right, the rest of your mics - whether they’re on the bass drum, snare, or toms - will usually fall into place.

Add the Kick Drum

Now that your overheads are set, it’s time to focus on the kick. Most kick drums are recorded using a dynamic microphone . These mics are built to handle the high-pressure levels of a kick drum without distorting, and they’re generally more rugged, which is key when you’re dealing with the constant pounding of a bass drum pedal.

There are a ton of great dynamic mics made specifically for kick drums - think Shure Beta 52A , AKG D112 , or the classic Audix D6 . These mics have a tailored frequency response that lets them capture low-end thump.

Placement is pretty straightforward, but it’s worth paying attention to. A good rule of thumb is to place your kick mic about 2 to 4 inches from the hole in the front head of the drum (assuming you’re using a front head with a hole in it). Position the mic slightly off-center, aiming at the beater's impact point. This allows you to capture the attack from the beater and the body of the drum without the mic being too close to the batter head, which could cause unwanted distortion.

If you’ve got two kick mics, the second mic usually goes inside the drum, aiming at the batter head (the part the beater strikes). This mic picks up more of the “thump” and lower frequencies. You can also use it to capture the front head if you’re going for a more open sound. Positioning is key , so make sure both mics are in phase with each other.

If you’re hearing unwanted resonance from the kick drum, you can use a kick drum damping pillow or foam inside the drum to reduce that extra ring. Some drummers even use towels or blankets to get the sound just right.

Add the Snare Drum

Next up is  the snare drum . Recording it can go a few different ways depending on your sound preference, but the big choice here is between condenser or dynamic microphones .

If you're after a really detailed, open sound that picks up every little brush stroke or rimshot, a condenser mic might be your best bet. Condensers tend to capture a lot of high-end detail, so they’re perfect for bringing out the snare’s crispness and the rattling sound of the snares themselves.

But, if you're looking for a more focused, punchy sound with a bit more grit, then a dynamic mic (like the iconic Shure SM57 ) will give you that solid midrange snap that’s perfect for a tight, controlled snare sound.

Speaking of the SM57 , it’s practically a rite of passage for any engineer worth their salt. Why? Well, it’s built for the job. It handles high SPLs (sound pressure levels) really well, has a focused cardioid pattern, and just does a fantastic job of capturing the snare's natural attack without overemphasizing the cymbals or the room. Plus, it's been used on countless hit records for decades, so there’s a reason it’s a studio stalwart when it comes to snare drums.

A common approach when miking the snare is to use two microphones - one on the top (the batter side) and one underneath (the snare side). The top mic picks up the crack and attack of the drum, while the bottom mic captures the sizzle of the snare wires themselves.

Phase issues are common here, though, so make sure the mics are in phase with each other. A good way to check is to listen in mono - if the sound starts to thin out or cancel, your phase is off, and you’ll need to adjust the placement or reverse the phase on one of the mics.

Mic placement is critical, so here’s where to put ‘em:

1. Top Mic : Place it a couple of inches above the center of the snare drum, angled slightly towards the edge. This will give you a nice balance of crack and body, without picking up too much cymbal bleed.
2. Bottom Mic : Position the bottom mic just a few inches beneath the snare, aiming it at the snare wires (but not too close!). The goal here is to capture that metallic sizzle and the subtle buzz of the snares.

Once both mics are in place, adjust the levels and experiment a bit until you get the perfect balance of snap, body, and that signature snare "crack.”

Add the Toms

When it comes to recording toms , in a more minimal mic approach , you don’t usually need to close-mic them. The overheads can generally pick them up just fine, especially if the drummer’s playing with decent dynamics. Toms tend to sit nicely in the stereo field when the overheads are dialed in right, so you’re free to focus on capturing the overall sound of the kit rather than mic’ing every individual drum.

But, if you're in a genre like rock or metal , things tend to get a little more intense. Those genres are known for their big, fat toms, and if you want to get that punchy, in-your-face sound, you'll likely need to close-mic the toms.

For mic selection, dynamic microphones are usually the go-to.

Some classic choices for dynamic tom mics include the Shure SM57 , the Sennheiser e604 , and the Audix D2 .

Mic placement is pretty straightforward here. For rack toms, place the mic a few inches above the drum , angled down at about a 45-degree angle towards the center. For floor toms, position the mic similarly but lower down since the drum is larger and the distance from the mic needs to be adjusted to capture that full, deep tone.

Make sure the mics are aimed directly at the batter head, not the rim, as you want to catch the full attack of the stick hitting the head.

Add the Room

In a large studio , the typical approach to capturing the room sound involves setting up a pair of room mics far from the drum kit, so you can pick up the natural reverb and ambiance of the space. This works because, in a professionally treated studio, the room itself has been designed to sound good. The farther you place the mics, the more they can capture the space around the drums and blend that into the sound.

But, in a home studio, the reality is often a little different. Your room probably doesn’t have great acoustics, and putting mics too far away from the kit can lead to all kinds of nasty anomalies.

So how do we make room mics work at home?

One way is to get a little creative by placing your room mic in an adjoining room away from the direct sound of the kit but still close enough to capture some room ambiance. You’ll want to avoid having a direct line of sight to the drum kit, as this will help eliminate direct sound from the mics and let the room's natural reflection take the spotlight.

Once you’ve got your room mic(s) set up, mixing becomes key to really making it work. A neat trick is to delay the room mics by about 10–15 milliseconds . This gives the room a bigger, more spacious feel, and it helps to avoid phase issues with your close mics. The delay will make the room sound less “in your face” and more like it’s part of a much larger space.

For cheap mics that work great in this role, look no further than the Behringer C-1 or Audio-Technica AT2020 .

And Finally, the Hi-Hat.

I’ve saved the hi-hat for last because, frankly, if you’ve set up your overheads well, they should do most of the heavy lifting for your hat. They’ll pick up all the subtle chick-chick-chick sounds, along with the cymbal's natural shimmer. So, before you go reaching for more mics, give your overheads a listen.

That said, sometimes the hi-hat needs a little extra love , especially if you’re recording a style where the hi-hat plays a big role. If you want to add more definition or detail, a pencil condenser can be a great choice.

A good spot is to place the mic about 4 to 6 inches above the hi-hat, aimed directly at the edge where the cymbals meet. Make sure the mic is slightly off-axis to avoid harshness from the cymbals themselves.

Make sure the mic doesn’t pick up too much spill from the snare or other cymbals . Hi-hats can be loud, and if your mic is too close, you'll end up with unwanted noise from the rest of the kit bleeding in.

If you’re having trouble with this, try moving the mic a little farther away or adjust its angle to minimize spill. Another option is to use a high-pass filter to cut some of the low-end rumble, which can help tighten up the sound and make the hi-hat more present in the mix.

Testing Out Before Hitting 'Record'

Before you start recording, there’s one crucial step you can’t skip: testing phase relationships between your mics.

Phase cancellation is when two mics pick up the same sound source but at slightly different times, causing certain frequencies to cancel each other out. You end up losing a lot of punch and depth, and you’ll be left wondering why your recording sounds like it’s coming low-end.

How to test the phase relationship of your entire kit with your kick mic :

1. Start with the kick mic : Make sure it’s positioned and sounding good. This is going to be your reference mic.
2. Solo the kick mic : In your DAW, mute all other tracks except for the kick mic, so you’re only hearing the kick drum in isolation.
3. Test one mic at a time : Starting with your overheads (or whichever mics are next in your setup), unmute them one at a time while listening to the kick mic in the mix. Pay attention to how each mic interacts with the kick. If you hear any noticeable drop in low end or loss of definition, you’ve got a phase issue.
4. Flip the phase : Many interfaces and DAWs have a phase reverse button (usually labeled “phase” or “polarity”). Use this to flip the phase on each mic and check if the sound improves. If flipping the phase button makes the sound fuller or more focused, you’ve fixed the phase issue.
5. Repeat the process : Go through all the mics - snare, toms, room mic, etc. - and check them one by one. Make sure you’re hearing a balanced, coherent sound that’s not losing any important frequencies.

If you don’t hear any difference when flipping the phase, great! You’re good to go.

Final Thoughts - How to Record Drums Like a Pro

Learning how to record drums is one of the biggest challenges in home recording. Between mic placement, phase issues, room acoustics, and making sure the drummer’s actually in the groove, there’s a lot to juggle. Patience here is key. Great drum sounds take time, careful attention, and a fair bit of trial and error.

I hope this guide has helped simplify the process and given you some solid, actionable steps to start recording drums at home like a pro.

As you get more comfortable and develop your own sound, don’t be afraid to experiment and tweak things to fit the vibe you’re after. It’s your studio, your drums, and your creative process - so enjoy it!

Once you’ve got those drums recorded, the next step is mixing. If you want to take your recordings to the next level, check out our blog: How To Mix Drums: A Beginner’s Guide .