Overhead mics for drummers
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It also stops them from distorting.
The mics also have 3-position pads that allow you to adjust the SPL depending on what instrument you’re using. Its 0.5-inch true condenser transducer delivers exceptional clarity across the full 20 Hz to 20 kHz frequency range, capturing every cymbal shimmer and stick attack with professional precision.
Large-diaphragm condensers tend to work the best, as they have a wider pickup range.
Buying a single overhead is a good way of saving money, as you can get a higher-quality microphone for the same price as a lower-quality matched pair.
However, you’ll have an easier time getting a good drum mix if you use a matched pair, and a matched pair will give you a clearer picture of your drums in most settings.
They also sell excellent condenser mics that work as overheads.
The KSM137 microphones were the top option on the above list. However, there are a few specific ones that most drummers gravitate toward. Choose based on your specific recording environment, budget constraints, and desired sonic characteristics.
Signal-to-Noise Ratio
Signal-to-noise ratio emerges as one of the most critical specifications I evaluate when selecting drum overhead microphones, since this measurement directly determines how clean your recordings will sound against the inevitable background noise present in any environment.
This one is a large-diaphragm mic, meaning it has a larger body and a huge dynamic range.
This mic is inspired by AKG’s popular C414. A solid pair of drum overhead mics can give you a better reference point when mixing and save you a lot of EQ headaches down the line.
Even if you’re using a multi-mic setup, a great matched pair of overhead drum mics makes a difference.
While other microphones pick out individual drums and details, the overheads do a lot of the “heavy lifting” and record a massive chunk of the sound.
So, in order to do this job, overhead mics need to be either suspended above (like the Nady OHCM-200) or on a mic stand that is high above the drum set. So, you should save up for a pair and then use your dynamic microphones as close mics for the snare and toms.
Sound Pressure Levels
All microphones have a maximum sound pressure level.
Plus, many of the best drum overhead mics are versatile enough to work beautifully on acoustic guitar, piano, room ambience, or even guitar amps, so they’re not just limited to drum work.
In this guide, I’ve pulled together a list of the best matched pairs available today, based on user feedback, expert opinions, and real-world performance.
The 50 Hz to 16 kHz frequency range handles most drumming styles adequately, while directional pickup patterns minimize bleed between instruments. The Beyerdynamic MC930 is a great example of a full frequency response.
If you don’t have a full frequency response, some of the sounds can go missing, or you can get a low-quality sound like an old-school telephone.
Impedance
Impedance is AC current resistance.
This model also comes with windshields, which means that if you are recording outside, you can protect the mics from gusts of wind. The lower the better, generally, but all of the options on this list are 200 or below, which is very good for an overhead microphone.
Think about how long you need the cable to be when you run it to your drum overheads.
The key lies in measuring cost-effectiveness against your specific sonic requirements, ensuring that whether you’re investing in entry-level or professional-grade options, the microphone’s capabilities align with your recording environment’s demands.
Frequently Asked Questions
What Height Should Drum Overhead Microphones Be Positioned for Optimal Sound Capture?
I position my drum overhead microphones 24-40 inches above the cymbals.
A lot of people use it as a vocal mic, but it works brilliantly as a drum overhead as well.
You can either use a single C214, or you can buy a second one to create a matched pair. Pencil condensers are very light, so they’re the easiest to travel with.
You should also consider all your other microphones and how heavy they are.
The LCT 040 MATCH excels in drum recordings, acoustic guitar applications, and stereo miking techniques, making it a versatile choice for creating three-dimensional and authentic stereo recordings.
However, it’s important to note that the LCT 040 MATCH may not be the best overhead mics for all recording scenarios due to its limited versatility.
This can restrict versatility in capturing ambient sounds or broader spatial recordings, where switchable polar patterns might be advantageous. How have we judged the models on this list? This current edition was published on 2025.
For this edition, we looked at all the matched pairs of microphones that are being sold by major music gear retailers with a street price of $1,000 or less.
Microphones should last a long time if treated right, especially dynamic microphones, so look for products with a one or two year warranty if you can just to make sure you can be confident in your purchase over long periods of time.
It means more of the end result (your finished recording) will be the sound you want to record rather than the noise of the microphone.
You may be worried about the fact that there is any noise in the recordings to come from a microphone; it is unavoidable, and mics have their own character. These cardioid microphones typically have frequency ranges of 20Hz to 20kHz, which is ideal for drum kits.
Drum mics need to have wide frequency ranges so that they can accurately pick up all the lows, mids, and highs from the drums and cymbals.
Supercardioid microphones tend to work quite well as overheads too, but every single mic I suggested above has a cardioid pickup pattern.